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"Situé à l’angle de la rue de Varenne et du boulevard des Invalides, dans le 7e arrondissement de Paris, l’hôtel de Biron a connu plusieurs occupants depuis l’achèvement de sa construction en 1730 pour Abraham Peyrenc de Moras5,6, seigneur de Saint-Étienne : la duchesse du Maine, belle fille de Louis XIV ; le maréchal de Biron, qui donna son nom à la demeure ; le duc de Charost ; la Légation Pontificale ; l’Ambassade de Russie ; ou encore la Société du Sacré-Cœur de Jésus, congrégation religieuse fondée par Madeleine-Sophie Barat7. La future impératrice des Français, Eugénie de Montijo, reçoit son éducation au sein du couvent entre 1835 et 1839.
La Société du Sacré-Cœur de Jésus fait démonter nombre de ses boiseries Louis XV, laissant l’hôtel dans un état alarmant, au moment où elle quitta les lieux en 1905, à la suite de la loi de séparation des Églises et de l'État."
Musée Rodin
Hôtel Biron in Paris
This was during a stay in Paris before joining the Rick Steves Loire valley tour.
Au Musée Rodin
Paris
Ce musée est installé dans l'ancien Hôtel Peyrenc de Moras, Paris
"First opened to the public on 4 August 1919, the Musée Rodin was housed in a mansion, formerly called the Hôtel Peyrenc de Moras, designed with the lines of classical architecture and ornamented with rocaille decoration. It was built in the Rue de Varenne, between 1727 and 1732. From 1788, the Hôtel was occupied by a series of owners and tenants. In 1820, the Duchess of Charost sold the entire property to three nuns belonging to a religious congregation, the Society of the Sacred Heart of Jesus. A boarding school for girls was opened and the decorations were progressively sold. Between 1820 and 1904, several buildings were constructed on the estate, the Chapel in particular, designed by the architect Jean Juste Gustave Lisch and achieved in 1876."
in:
en.wikipedia.org/wiki/Mus%C3%A9e_Rodin#H%C3%B4tel_Biron,_...
Rodin
Autant j'aime certaines œuvres de cet artiste, dont ces mains, autant j'en déteste d'autres. Au moins il ne me laisse pas indifférente :-)
As much as I love some of this artist's works, including these hands, I equally dislike others. At least, they don’t leave me indifferent. :-)
Expo Rodin au CAP (Mons, Hainaut, Wallonie)
La edad de bronce L'Âge d'airain. De acuerdo a Judith Cladel, Rodin trabajó en ella durante dieciocho meses, de junio de 1875 a diciembre de 1876 y utilizó como modelo a un joven soldado belga, Auguste Neyt, quien obtuvo permiso del capitán de su regimiento para posar para Rodin.
Exposition Rodin-Maillol
Musée Hyacinthe-Rigaud, Perpignan, 2019
Musée Rodin is located in the former Hôtel Biron. The stately building dates from 1730 and is within walking distance of Les Invalides. Hôtel Biron was the favorite residence of the famous French sculptor Auguste Rodin
Despair (French: Le Désespoir) or Despair at the Gate (French: Désespoir de la Porte) is a sculpture by Auguste Rodin that he conceived and developed from the early 1880s to c. 1890 as part of his The Gates of Hell project. The figure belongs to a company of damned souls found in the nine circles of Hell described by Dante in The Divine Comedy. Other title variations are Shade Holding her Foot, Woman Holding Her Foot, and Desperation (French: Les Désespérés). There are numerous versions of this work executed as both plaster and bronze casts and carved marble and limestone.
en.wikipedia.org/wiki/Despair_(sculpture)
Rodin a volontairement représenté Le Penseur comme un homme musclé, presque bestial, contrastant avec l’image traditionnelle et idéalisée de la pensée incarnée par des figures mythologiques féminines comme Athéna. Cette représentation a valu à la sculpture des surnoms comme « gorille » ou « brute énorme » à l’époque, soulignant la force physique du modèle !
De même, un gorille, animal puissant par excellence, adopte cette posture et crée un contraste saisissant entre sa force physique et l’attitude méditative, ce qui fascine et amuse l’observateur humain !
La similitude entre Rodin et un gorille adoptant la pose du Penseur réside dans l’association visuelle et symbolique entre la force brute et la réflexion, la posture universelle de la méditation, et l’interrogation sur ce qui sépare – ou rapproche – l’homme de l’animal !
°°°°°°°°°°°°°
Rodin deliberately depicted The Thinker as a muscular, almost bestial man, contrasting with the traditional and idealized image of thought embodied by mythological female figures like Athena. This representation even earned the sculpture nicknames such as “gorilla” or “huge brute” at the time, highlighting the model’s physical strength.
Similarly, a gorilla—an animal par excellence known for its power—adopting this pose creates a striking contrast between its physical strength and its meditative attitude, which both fascinates and amuses human observers.
The similarity between Rodin and a gorilla adopting the Thinker’s pose lies in the visual and symbolic association of raw strength with reflection, the universal posture of meditation, and the questioning of what separates—or brings together—humans and animals !
credit : “Le petit clin d'oeil du dimanche de PdF"
Art galleries and museums are popular to please and ease the visitors' mood. Only few artists were able to attract masses by expressing non-pleasant themes. Rodin and Balzac could.
In Dante’s Divine Comedy, the shades (the souls of the damned) stood at the entrance to Hell, pointing to an unequivocal inscription: “Abandon hope, all ye who enter here.” Rodin made several studies of Shades, eventually assembling three identical figures that seem to be circling the same spot. He placed them on top of The Gates of Hell, towering over the viewers below, then had them enlarged as a monumental group in their own right.
As with the figure of Adam, whose tortured pose is mirrored in The Three Shades, Michelangelo’s influence is evident here. The exaggerated slope of the heads almost joins the figures’ necks and shoulders in a single horizontal line. Through anatomical distortions of this kind, Rodin achieved an expressive force that was unrivaled in his day.
www.musee-rodin.fr/en/musee/collections/oeuvres/three-shades
No I'm not at the Manchester Picture Gallery. But I found this on my camera which I have now charged. And after a bit of faff managed to connect it to my phone. First time I managed that!
And now I can get stuff off the phone without ripping the card out and into a reader. and then into my Mac. and then uploading.
tbh the camera prompts could have been less ambiguous.
Anyway, enjoy the Rodin. I think he did 20 copies which can be found all over the world.
The Kiss 1901-4
Le Baiser
'The Kiss' has its origins in Rodin's first major public commission, given to him in 1880 by the French State. This was for a huge bronze doorway, covered in relief sculpture illustrating Dante's Divine Comedy, for a proposed new Museum of Decorative Arts in Paris. Rodin decided to confine his choice of subjects to Hell, the first part of the Divine Comedy, and the doorway became known as 'The Gates of Hell'. From about 1880-86 Rodin poured energy and inspiration into this project and although the museum was never built and 'The Gates of Hell' never definitively completed, they remained a repository of ideas for the artist and are the source of some of his best known individual works.
The group of 'The Kiss' first appears in the third of Rodin's early small clay models for 'The Gates of Hell', together with only two other recognisable groups. One of these, the figure now known as 'The Thinker', was originally intended to represent Dante himself, the other, a man holding a dead youth (his son) in his arms, represents a character from Hell called Ugolino. The three groups are arranged in a triangle, with 'The Thinker' at the top over the doors and the other two opposite each other, on the left and right-hand panels of the doors. The gateway was later to become populated with hundreds of figures, but these three clearly had a fundamental symbolic significance for Rodin, representing sexual love, parenthood and death, and intellectual activity and creation.
There is no doubt that in 'The Kiss' Rodin invented one of the great images in art of human sexual love, whose power derives from its beautifully judged balance between a high degree of idealisation in the depiction of the bodies of the couple and the equally high degree of eroticism with which Rodin has nevertheless succeeded in imbuing the work. The erotic edge of 'The Kiss' is sharpened when its subject from Dante is known. The couple are Paolo Malatesta and Francesca da Rimini. Francesca was married to Paolo's brother but fell in love with Paolo, himself a married man. They were discovered and murdered by Francesca's outraged husband. In Dante, Francesca recounts how she and Paolo were first moved to physical passion by reading together the Arthurian legend of Lancelot - when they read of Lancelot's first embrace of Queen Guinevere they could resist each other no longer. This is the moment that Rodin has depicted. In the sculpture the book can just be made out still clutched in the surprised Paolo's left hand.
Rodin made the first separate version of 'The Kiss' in 1882, a half-life size bronze, and in 1887 was commissioned by the French state to produce a version in marble on a scale larger than life. This was finally completed and exhibited in Paris in 1898, and is now in the Mus?e Rodin in Paris. The Tate Gallery version was made for an American collector of Greek marble sculpture living in England, Edward Perry Warren. Another marble version is in the Carlsberg Glyptotek in Copenhagen and a fourth, produced after Rodin's death, is in the Rodin Museum in Philadelphia, U.S.A.
Rodin used a studio system for the production of his marbles. They were carved by professional marble sculptors under his supervision with finishing touches by the master. The Tate Gallery version of 'The Kiss' was carved by a sculptor named Rigaud and finished by Rodin himself.
Published in:
Simon Wilson, Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition 1991, p.150