Green marbled boards. Marbled endpapers. Tight bindngs and solid boards. Moderate shelf wear. Scuffing to spines. Rubbing to boards. Minor bumping to corners. Light fraying to spine edges. Some title plates have worn away partially. Clean, unmarked pages. Slight discoloration to page edges. Pages are somewhat delicate. Overall, a well preserved collection in very good condition. Most of the illustrations are by the noted French military artist de Neuville. Boston: Dana Estes and Charles E. Lauriat, Complete set in six large octavo volumes. No date, c. Original half leather bindings in tan polished calf with marbled boards, spines in six compartments with lightly raised bands and gold tooling, black and red leather spine labels stamped in gilt, marbled textblock edges and endpapers.
With steel and woodcut illustrations by A. De Neuville and additional illustrations by distinguished artists, many with tissue-guards. Bindings show some wear and light scuffing. Texts are quite clean and bright. Stamp and signature of prior owners. Cracked inner front hinge on first volume.
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All books are firmly bound and internally very good. Very Good. De Neuville. Francois Ships with Tracking Number!
May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service! Lauriat Light wear to edges and spines, clean and unmarked. Decorative set, red leather spines and corners. Gold titles clear and bright. Detailed history, hundreds of illus. Six volumes, over two thousand pages. Publication date not indicated, appears to be s. New York: John W. Lovell, Criticizing the work, Morey reflected, "there may come a time, and doubtless will come a time, when it will not seem outre to represent a great novelist as a huge comic mask crowning a bathrobe, but even at the present day this statue impresses one as slang.
The monument had its supporters in Rodin's day; a manifesto defending him was signed by Monet , Debussy , and future Premier Georges Clemenceau , among many others. After this experience, Rodin did not complete another public commission. Only in was Monument to Balzac cast in bronze and placed on the Boulevard du Montparnasse at the intersection with Boulevard Raspail. The popularity of Rodin's most famous sculptures tends to obscure his total creative output. A prolific artist, he created thousands of busts, figures, and sculptural fragments over more than five decades.
He painted in oils especially in his thirties and in watercolors. Portraiture was an important component of Rodin's oeuvre, helping him to win acceptance and financial independence. Rodin was a naturalist, less concerned with monumental expression than with character and emotion. His sculpture emphasized the individual and the concreteness of flesh, and suggested emotion through detailed, textured surfaces, and the interplay of light and shadow. To a greater degree than his contemporaries, Rodin believed that an individual's character was revealed by his physical features.
Rodin's talent for surface modeling allowed him to let every part of the body speak for the whole. The male's passion in The Thinker is suggested by the grip of his toes on the rock, the rigidness of his back, and the differentiation of his hands. Sculptural fragments to Rodin were autonomous works, and he considered them the essence of his artistic statement. Rodin saw suffering and conflict as hallmarks of modern art.
Rodin enjoyed music, especially the opera composer Gluck , and wrote a book about French cathedrals. He owned a work by the as-yet-unrecognized Van Gogh , and admired the forgotten El Greco. Instead of copying traditional academic postures, Rodin preferred his models to move naturally around his studio despite their nakedness. Rodin's focus was on the handling of clay. George Bernard Shaw sat for a portrait and gave an idea of Rodin's technique: "While he worked, he achieved a number of miracles.
At the end of the first fifteen minutes, after having given a simple idea of the human form to the block of clay, he produced by the action of his thumb a bust so living that I would have taken it away with me to relieve the sculptor of any further work. He described the evolution of his bust over a month, passing through "all the stages of art's evolution": first, a " Byzantine masterpiece", then " Bernini intermingled", then an elegant Houdon. The Hand of God is his own hand. After he completed his work in clay, he employed highly skilled assistants to re-sculpt his compositions at larger sizes including any of his large-scale monuments such as The Thinker , to cast the clay compositions into plaster or bronze, and to carve his marbles.
Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting. Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make from the fugitive material that is clay. This was common practice amongst Rodin's contemporaries, and sculptors would exhibit plaster casts with the hopes that they would be commissioned to have the works made in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names.
As Rodin's practice developed into the s, he became more and more radical in his pursuit of fragmentation, the combination of figures at different scales, and the making of new compositions from his earlier work. A prime example of this is the bold The Walking Man — , which was exhibited as his major one-person show in John the Baptist Preaching he was having re-sculpted at a reduced scale.
Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the time and subsequently have seen as one of his strongest and most singular works. This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any attempt to hide the arbitrary fusion of these two components. By , Rodin's artistic reputation was entrenched. Gaining exposure from a pavilion of his artwork set up near the World's Fair Exposition Universelle in Paris, he received requests to make busts of prominent people internationally,  while his assistants at the atelier produced duplicates of his works.
His income from portrait commissions alone totaled probably , francs a year. Rilke stayed with Rodin in and , and did administrative work for him; he would later write a laudatory monograph on the sculptor. Rodin and Beuret's modest country estate in Meudon , purchased in , was a host to such visitors as King Edward , dancer Isadora Duncan , and harpsichordist Wanda Landowska.
While Rodin was beginning to be accepted in France by the time of The Burghers of Calais , he had not yet conquered the American market. Because of his technique and the frankness of some of his work, he did not have an easy time selling his work to American industrialists.
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However, he came to know Sarah Tyson Hallowell — , a curator from Chicago who visited Paris to arrange exhibitions at the large Interstate Expositions of the s and s. Hallowell was not only a curator but an adviser and a facilitator who was trusted by a number of prominent American collectors to suggest works for their collections, the most prominent of these being the Chicago hotelier Potter Palmer and his wife, Bertha Palmer — Instead, she suggested he send a number of works for her loan exhibition of French art from American collections and she told him she would list them as being part of an American collection.
All nudes, these works provoked great controversy and were ultimately hidden behind a drape with special permission given for viewers to see them. Bust of Dalou and Burgher of Calais were on display in the official French pavilion at the fair and so between the works that were on display and those that were not, he was noticed.
However, the works he gave Hallowell to sell found no takers, but she soon brought the controversial Quaker-born financier Charles Yerkes — into the fold and he purchased two large marbles for his Chicago manse;  Yerkes was likely the first American to own a Rodin sculpture. In appreciation for her efforts at unlocking the American market, Rodin eventually presented Hallowell with a bronze, a marble and a terra cotta.
When Hallowell moved to Paris in , she and Rodin continued their warm friendship and correspondence, which lasted to the end of the sculptor's life. After the start of the 20th century, Rodin was a regular visitor to Great Britain, where he developed a loyal following by the beginning of the First World War. He first visited England in , where his friend, the artist Alphonse Legros , had introduced him to the poet William Ernest Henley. With his personal connections and enthusiasm for Rodin's art, Henley was most responsible for Rodin's reception in Britain. His election to the prestigious position was largely due to the efforts of Albert Ludovici , father of English philosopher Anthony Ludovici , who was private secretary to Rodin for several months in , but the two men parted company after Christmas, "to their mutual relief.
During his later creative years, Rodin's work turned increasingly toward the female form, and themes of more overt masculinity and femininity. Rodin met American dancer Isadora Duncan in , attempted to seduce her,  and the next year sketched studies of her and her students. In July , Rodin was also enchanted by dancers from the Royal Ballet of Cambodia, and produced some of his most famous drawings from the experience. Fifty-three years into their relationship, Rodin married Rose Beuret.
They married on the 29th of January , and Beuret died two weeks later, on 16 February.
The patient's condition is grave. A cast of The Thinker was placed next to his tomb in Meudon; it was Rodin's wish that the figure served as his headstone and epitaph. Rodin requested permission to stay in the Hotel Biron , a museum of his works, but the director of the museum refused to let him stay there.
Rodin willed to the French state his studio and the right to make casts from his plasters. Because he encouraged the edition of his sculpted work, Rodin's sculptures are represented in many public and private collections. During his lifetime, Rodin was compared to Michelangelo ,  and was widely recognized as the greatest artist of the era. His most popular works, such as The Kiss and The Thinker , are widely used outside the fine arts as symbols of human emotion and character.
Rodin had enormous artistic influence. A whole generation of sculptors studied in his workshop. Several films have been made featuring Rodin as a prominent character or presence. The ballet is dedicated to the life and work of Auguste Rodin and Camille Claudel. The relative ease of making reproductions has also encouraged many forgeries: a survey of expert opinion placed Rodin in the top ten most-faked artists. A massive forgery was discovered by French authorities in the early s and led to the conviction of art dealer Guy Hain.
As a result of this limit, The Burghers of Calais , for example, is found in fourteen cities. In the market for sculpture, plagued by fakes, the value of a piece increases significantly when its provenance can be established. A number of drawings, previously attributed to Rodin, are now known to have been forged by Ernest Durig. From Wikipedia, the free encyclopedia. This article is about the sculptor. For other people named Rodin, see Rodin surname. For the film, see Rodin film. Paris , France. Meudon , France. Main article: The Burghers of Calais. Retrieved 24 March The New Yorker.
Retrieved 7 October Rodin was a child of the working class. His father was a police clerk. James Press, Reproduced in Biography Resource Center.
Farmington Hills, Mich. The New York Times. Retrieved 14 March Retrieved 19 December New York: Penguin Group. The Art Bulletin. Rodin and French Sculpture". The Times. His Sculpture And Its Aims".
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Critical Inquiry. The Burlington Magazine. Portraits of a lady. Studley, Warwickshire: Brewin Books. Retrieved 17 November National Gallery of Art , Washington, D. Archived from the original on 30 November Retrieved 12 December Contemporary Review. Retrieved 30 March Urbana: University of Illinois Press; p. Dictionary of National Biography 2nd supplement.
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