AUGUSTE See also:

• AUGUSTE RODIN (184o— )

RODIN (184o— )  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French sculptor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1840, in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age displayed a See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for his See also:

• ART

art . He began by attending See also:

• BARYE, ANTOINE LOUIS (1796-1895)

Barye's classes, but did not yield too completely to his See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence . From 1864 to 1870, under pressure of See also:

• NECESSITY (Lat. necessitas)

necessity, he was employed in the studio of See also:

• CARRIER
• CARRIER, JEAN BAPTISTE (1956-1794)

Carrier-Belleuse, where he learnt to See also:

• DEAL

deal with the See also:

• MECHANICAL

mechanical difficulties of a sculptor . Even so early as 1864 his individuality was manifested in his " See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man with a Broken See also:

• NOSE (O.Eng. nosu, cf. Dutch neus, Swed. nos, snout; the Aix in Provence. Both at Aix and at Lyons he acquired great connexion with O.Eng. nasu is obscure, cf. Ger. Nase, Lat. pares, distinction by his labours during outbreaks of the plague. In nostrils,

Nose." After the See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war, finding nothing to do in Paris, See also:

• RODIN, AUGUSTE (184o— )

Rodin went to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, where from 1871 to 1877 he worked, as the colleague of the Belgian artist See also:

• VAN

Van Rasbourg, on the See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture for the outside and the See also:

• CARYATIDES (Latinized from the Greek; the plural of Caryatis, i.e. a woman of Caryae in Laconia)

caryatides for the interior of the See also:

• BOURSE (from the Med. Lat. bursa, a purse)

Bourse, besides exhibiting in 1875 a " Portrait of Garner." In 1877 he contributed to the See also:

• SALON

Salon " The See also:

• BRONZE

Bronze Age," which was seen again, See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in bronze, at the Salon of i88o, when it took a third-class See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal, was See also:

• PURCHASED

purchased by the See also:

• STATE
• STATE, GREAT OFFICERS OF

State, and is now in the museum of the Luxembourg . Between 1882 and 1885 he sent to the Salons busts of " See also:

• JEAN

Jean-See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• LAURENS, HENRY (1724–1792)

Laurens " and " Carrier-Belleuse " (1882), " See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo " and " See also:

• DALOU, JULES (1838-1902)

Dalou " (1884), and " Antonin See also:

• PROUST, ANTONIN (1832–1905)
• PROUST, JOSEPH LOUIS (1754–1826)

Proust " (1885) . From about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he chiefly devoted himself to a See also:

• GREAT

great decorative See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition six metres high, which was not finished for twenty years . This is the " Portal of See also:

• HELL (0. Eng. hel, a Teutonic word from a root meaning " to cover," cf. Ger. Holle, Dutch hel)

Hell," the447 most elaborate perhaps of all Rodin's See also:

• WORKS

works, executed to See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order for the Musee See also:

• DES

des arts decoratifs . It is inspired mainly by See also:

• DANTE

Dante's Inferno, the poet himself being seated at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, while at his feet, in under-cut See also:

• RELIEF

relief, we see the writhing See also:

• CROWD, CROUTH, CROWTH

crowd of the damned, torn by the frenzy of See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and the anguish of despair . The See also:

• LOWER

lower See also:

• PART

part consists of two bas-reliefs, in their midst two masks of tormented faces . See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

Round these run figures of See also:

• WOMEN

women and See also:

• CENTAURS

centaurs . Above the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door three men cling to each other in an attitude 'of despair . After beginning this titanic undertaking, and while continuing to See also:

• WORK

work on it, Rodin executed for the See also:

• TOWN

town of Damvillers a statue of " Bastien-Lepage "; for See also:

• NANCY

Nancy a " See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

Monument to See also:

• CLAUDE, JEAN (1619-1687)

Claude le Lorrain," representing the See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

Chariot of the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

Sun See also:

• DRAWN

drawn by horses; and for See also:

• CALAIS

Calais " The Burgesses of Calais " surrendering the keys of the town and imploring See also:

• MERCY (adapted from Fr. merci, Lat. merces, reward)
• MERCY (or MERCI), FRANZ, FREIHERR VON

mercy .

In this, Rodin, throwing over all school tradition, represents the citizens not as grouped on a square or circular See also:

• PLINTH (Gr. ir)^fvOos, a square tile)

plinth, but walking in See also:

• FILE

file . This work was exhibited at the See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery in 1889 . At the time of the See also:

• SECESSION

secession of the See also:

• NATIONAL

National Society of See also:

• FINE

Fine Arts, or New Salon, in 189o, Rodin withdrew from the old Society of French Artists, and exhibited in the New Salon the bust of his friend " Puvis de Chavannes " (1892), " Contemplation " and a " Caryatid," both in See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble, and the " Monument to Victor Hugo " (1897), intended for the gardens of the Luxembourg . In this the poet is represented nude, as a powerful old man extending his right See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm with a See also:

• SOVEREIGN

sovereign gesture, the See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

Muses See also:

• STANDING

standing behind him . In 1898 Rodin exhibited two very dissimilar works, " The See also:

• KISS

Kiss," exhibited again in ',goo, a marble See also:

• GROUP

group representing See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Malatesta and Francesca da See also:

• RIMINI

Rimini, and the See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in See also:

• PLASTER

plaster for a " Statue of See also:

• BALZAC, HONORS DE (1790-1850)
• BALZAC, JEAN LOUIS GUEZ DE (1594-1654)

Balzac." This statue, a See also:

• COMMISSION (from Lat. commissio, committere)

commission from the Society of Men of Letters, had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long been expected, and was received with vehement dissensions . Some critics regarded this. work, in which Balzac was represented in his voluminous dressing-See also:

• GOWN

gown, as the first-fruits of a new phase of sculpture; others, on the contrary, declared that it was incomprehensible, if not ridiculous . 'This was the view taken by the society who had ordered it, and who " refused to recognize Rodin's rough sketch as a statue of Balzac, " and withdrew the commission, giving it to the sculptor See also:

• FALGUIERE, JEAN ALEXANDRE JOSEPH (1831-1900)

Falguiere . Falguiere exhibited his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model in 1899 . In the same Salon, Rodin, to prove that the conduct of the society had made no See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in his friend-See also:

• SHIP

ship with Falguiere, exhibited a bust in bronze of his See also:

• RIVAL

rival, as well as one of " See also:

• HENRI

Henri See also:

• ROCHEFORT
• ROCHEFORT, HENRI, MARQUIS DE

Rochefort." In 1900, the See also:

• CITY (through Fr. cite, from Lat. civitas)

city of Paris, to do See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour to Rodin, erected at its own expense a See also:

• BUILDING

building See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close to one of the entrances to the Great See also:

• EXHIBITION

Exhibition, in which almost all of the works of the artist were to be seen, more especially the great " Portal of Hell," still quite incomplete, the " Balzac," and See also:

• GHOST (a word common to the W. Teutonic languages; O.E. vest, Dutch, 'geest, Ger. Geist)

ghost of other works, many of them unfinished or See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere rough sketches . Here, too, were to be seen some of Rodin's designs, studies and See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour drawings . He has also executed a great many etchings and sgraffiti on See also:

• PORCELAIN

porcelain for the manufactory at Sevres . His best-known See also:

• ETCHING (Dutch, etsen, to eat)

etching is the portrait of Victor Hugo .

Many of Rodin's works are in private collections, and at the Luxembourg he is represented by a " Donald " (in marble), a " See also:

• SAINT (lat. sanctus, " holy ")

Saint See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John " (in bronze, 188o), " She who made the See also:

• HELMET (from an obsolete diminutive of O. Fr. helme, mod. heaume; the English word is " helm," as in O. Eng., Dutch and Ger.; all are from the Teutonic base hal-, pre-Teut. kal-, to cover; cf. Lat. celare, to hide, Eng. " hell," &c.)

Helmet " (bronze statuette), the busts of " J . P . Laurens " and of " A See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady " and other works . In the Musee Galliera is a very fine bust of Victor Hugo . Rodin's " See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

Hand of See also:

• GOD

God " was exhibited in the New Gallery, See also:

• LONDON

London, in 1905 . In 1904 Mr Ernest Beckett (See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• GRIMTHORPE, EDMUND BECKETT, 1ST BARON (1816–1905)

Grimthorpe) presented the See also:

• BRITISH

British nation with the sculptor's " Le Penseur." In the same See also:

• YEAR

year Rodin became See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the See also:

• INTERNATIONAL, THE

International Society of Sculptors, Painters and Engravers, in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession to See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James McNeill See also:

• WHISTLER, JAMES ABBOTT

Whistler . See SCULPTURE (See also:

• MODERN

Modern French) ; also See also:

• GEFFROY, MATHIEU AUGUSTE (1820-1895)

Geffroy, La See also:

• VIE

Vie artistique (Paris, 1892, 1893, 1899, 1900) ; L . Maillard, Rodin (Paris, 1899) ; La Plume, Rodin et son oeuvre (Paris, 1900) ; See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre, Le Balzac de Rodin (Paris, 1898); H . Boutet, See also:

• DIX, DOROTHEA LYNDE (1802-1887)
• DIX, JOHN

Dix dessins choisis de Auguste Rodin (1904) ; R . Dircks; Auguste Rodin (1904) ; H . Duhem, Auguste Rodin (1903); C . See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black, Auguste Rodin: the Man, his Ideas and his Works (1905) .