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Jean-Baptist Carpeaux and Augustus Saint-Gaudens improved sculpting but Rodin introduced many new ideas and styles that left lasing impressions. He "modified" the Realism movement by implementing several styles into his work including Impressionism and Symbolism and in the process created a personal style that "anticipated twentieth-century Expressionism" (1011). Rodin attempted to look beyond what was being taught in art schools in his day. His studied Michelangelo and Puget and desired to express the "existential situation of modern man, his inability to communicate, his despair" (1011). The Thinker is Rodin's most famous piece of art. Rodin put much care and consideration into this piece, noting that what makes the thinker so spectacular is the fact that the thinker expresses the "effort of thought through the contraction of each and every muscle" (Neret 35). Deborah Silverman notes that while the thinker might be "inactive but not at rest" (261). Thinking is not what we consider a physical activity, but Rodin displays how it is such. The Kiss demonstrates Rodin's style as well. He captures a moment in time, just as Michelangelo does. It is a moment of great anticipation. These works, as moments of anticipation reveal Rodin's Realist influence with their anatomical correctness. The symbolism is clear, as we watch something beautiful about to unfold in something ordinary. His Impressionistic influences can be seen with the effects of lighting...
These statues represent Rodin's attempt illustrate life through subtle variations of planes that catch light.
Michelangelo and Rodin demonstrate the capacity of human nature. Most of the limitations we experience are put upon us by ourselves. We listen to society or we allow others to influence our thinking and behavior. These two men allowed themselves to dream and did not let limitations get in the way of their art. Each understood there was more to discover about art and they were not intimidated by much, if anything at all. They wanted to capture the essence of life in all its pain and it beauty. Michelangelo opened the door to what could be done with his notion that art and man must merge to become one and Rodin agreed with this idea, daring to capture interior feelings through muscular movement. Their artistic eyes saw beauty in the ordinary events and wanted to duplicate it, emotion and all. They succeeded in their communities and beyond by allowing themselves to becomes instruments through which art speaks.
Works Cited
Neret, Gilles. Auguste Rodin: Sculptures and Drawings. Cologne: Taschen Publishers.1994.
Silverman, Debora . Art Nouveau in Fin-de-siecle France: Politics, Psychology, and Style.
Berkeley: University of California Press. 1992.
Pettit, Jayne. Michelangelo: Genius of the Renaissance. New York: Franklin Watts.…
Works Cited
Neret, Gilles. Auguste Rodin: Sculptures and Drawings. Cologne: Taschen Publishers.1994.
Silverman, Debora . Art Nouveau in Fin-de-siecle France: Politics, Psychology, and Style.
Berkeley: University of California Press. 1992.
Pettit, Jayne. Michelangelo: Genius of the Renaissance. New York: Franklin Watts. 1998.
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