Impressionist Sculpture


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Revision on Impressionist sculpture, including Rodin and Camille Claudel

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Impressionist Sculpture

  1. 1. Impressionist Sculpture Revision
  2. 2. Rodin <ul><li>His work was doted of great psychological strength through carving and texture </li></ul><ul><li>This art is considered impressionist because of the rough surfaces and the multiplicity of plans </li></ul><ul><li>The work acquires vital deepness and colossal strength that animated the images </li></ul><ul><li>In his opinion, beauty in art consisted of a truly depiction of the internal state and for achieving that aim he used a certain distort of the anatomy. </li></ul>
  3. 3. Rodin <ul><li>His sculpture, in bronze and marble, can be divided into two styles: </li></ul><ul><ul><li>The most characteristic is deliberately strong in the shape and with a careful carving of the texture </li></ul></ul><ul><ul><li>An example of it can be his “Doors of Hell” </li></ul></ul><ul><ul><li>The second is marked by a polish surface, with delicate shapes </li></ul></ul><ul><ul><li>A characteristic work can be “The Kiss”. </li></ul></ul>
  4. 4. Rodin <ul><li>He was publicly recognised in an art exhibition in 1877 where he presented “The Age of Bronze”, a masculine nude </li></ul><ul><li>This work was controversial and he was accused of using wax models of human subjects </li></ul><ul><li>He began working in his “Doors of Hell” of which he created models and studios, even when they are not completely finished </li></ul>
  5. 5. Rodin <ul><li>Some of his works were acclaimed such as “The Kiss”, that was realised at the time he was working with Camille Claudel </li></ul><ul><li>The experience of such a relation in which the physical union was linked to a peer friendship more spiritual probably contributed to a change in his conception of love that is evident in the works of this period. </li></ul>
  6. 6. Rodin <ul><li>He evolved from the guilty love of the “Doors of Hell” to a more visual depiction with internal strength manifested in links and hugs to beings that manifest in this way the expansion of vital energy, of shared happiness </li></ul><ul><li>“ The Kiss” was considered by the contemporaries as too realistic and full of impudicity </li></ul><ul><li>Rodin had operated a kind of democratization of the erotic sensuality </li></ul><ul><li>The work was publicly acclaimed and it supposes the apotheosis of beauty and movement, with multiplicity of plans and smooth wavy surfaces. </li></ul>
  7. 7. Rodin <ul><li>His style derived in full maturity towards symbolic forms, such as in “The Cathedral”, reduced to two hands in praying position </li></ul><ul><li>Other work is “The Hand of God”, in which from an ethereal marble cloud a human body emerges. </li></ul><ul><li>In 1886 he finished “The Bourgeois of Calais” in which he announced the deformations of the Expressionism </li></ul><ul><li>This monumental bronze group depicts historical characters with great psychological differences </li></ul>
  8. 8. Rodin <ul><li>He produced several portraits in which the emotional states of the characters can be identified </li></ul><ul><li>His work marked, at the same time as Impressionism in painting, the birth of contemporary sculpture </li></ul><ul><li>The sculpture language of the 20th century has its beginning in the work of this extraordinary sculptor. </li></ul>
  9. 9. Camille Claudel <ul><li>She always aimed at being an sculptor </li></ul><ul><li>Rodin, impressed by the solidity of her work, accepted her as a student in his workshop </li></ul><ul><li>She collaborated with her master in two important works: </li></ul><ul><ul><li>The Doors of Hell </li></ul></ul><ul><ul><li>The Bourgeois of Calais </li></ul></ul>
  10. 10. Camille Claudel <ul><li>She left her family to work and lived with Rodin, depending on him and also in her own creation </li></ul><ul><li>Sometimes the works of teacher and student are so close one to another that it is difficult to say who influenced on whom </li></ul><ul><li>After this period, she suffered due to two reasons: </li></ul><ul><ul><li>The difficulty of her relationship with Rodin, who was with other woman </li></ul></ul><ul><ul><li>The comments of some people saying that her works were realised by her master. </li></ul></ul>
  11. 11. Camille Claudel <ul><li>She tried to separate from her master and this attempt to be autonomous can be recognised in </li></ul><ul><ul><li>the way of choosing the subjects and </li></ul></ul><ul><ul><li>the treatment she gave to her works </li></ul></ul><ul><li>In this period she produced “The Vals” and “The Little Chatelaine” </li></ul><ul><li>She finally separated from her master in 1898 </li></ul><ul><li>After this rupture, hurt and disoriented, she became mad and needed to receive psychiatric treatment </li></ul><ul><li>She expressed the rupture in a woks called “The Age Mur” </li></ul>
  12. 12. Camille Claudel <ul><li>She tried to continue with her career in loneliness although the negative critics of some of the art-critics of the time </li></ul><ul><li>Two exhibitions of her works were realised in order to achieve recognition and, at the same time, financial and moral benefit for her </li></ul><ul><li>Critics were very good but Camille was too ill to benefit from these comments. </li></ul>
  13. 13. Camille Claudel <ul><li>After 1905 the periods of paranoia were more frequent and worrying </li></ul><ul><li>She accused Rodin of keeping her sculptures and attribute them to himself </li></ul><ul><li>She also thought that unknown people were trying to enter in her home to steal her works </li></ul><ul><li>She was physically and morally deteriorated, not eating and not trusting anyone </li></ul><ul><li>She died in 1943 </li></ul>