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Rodin and the Physicality of Emotion
Publié le 22 déc. 2020
Mis à jour le 22 déc. 2020
Culture
6 min
Culture
Publié le 22 déc. 2020
Mis à jour le 22 déc. 2020
6 min
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982 lectures
Rodin and the Physicality of Emotion
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By Claudia Moscovici
Constantin Brancusi considered Auguste Rodin not only a precursor, but also the first great modern sculptor. “In the nineteenth century,” Brancusi declared, “the situation in sculpture was desperate. Rodin arrived and transformed everything.” In a way, Rodin was fortunate that initially he wasn’t part of the system. Rejected several times by the Ecole des Beaux-Arts, Rodin was not trained according to the rigid academic standards of the time. Nonetheless, he never gave up and showed great confidence in his talent. In 1865, for example, his sculpture The Man with the Broken Nose (1865 and 1875) was initially rejected by the jury of the Salon, partly because the clay fissured and the sculpture cracked in the back of the head.
Years later, Rodin redid the sculpture, w
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