Огюст Роден цитаты
Дата рождения: 12. Ноябрь 1840
Дата смерти: 17. Ноябрь 1917
Франсуа́ Огю́ст Рене́ Роде́н — французский скульптор, признанный одним из создателей современной скульптуры. Роден в молодости зарабатывал на жизнь ремеслом декоратора, и большинство его авторских работ были созданы в зрелом возрасте. Уже после того, как Роден получил признание как новатор в скульптуре, его работы вызывали скандалы и отвергались заказчиками.
Творчество Родена находится на стыке реализма, романтизма, импрессионизма и символизма. Роден достиг виртуозного мастерства в передаче художественными средствами движения и эмоционального состояния своих героев и в изображении человеческого тела. Среди главных произведений Родена - скульптуры «Мыслитель», «Граждане Кале» и «Поцелуй».
Цитаты Огюст Роден
— Огюст Роден
Ответ великого французского скульптора Огюста Родена на вопрос одного из своих учеников, в чем, собственно, состоит искусство скульптора. Возможно, Роден просто повторил слова одного из древних ваятелей, поскольку похожие по смыслу выражения встречаются у Дионисия Ареопагита и Микеланджело. Так, известна фраза Микеланджело: «Я разумею под скульптурой то искусство, которое осуществляется в силу убавления».
„Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated.“
— Auguste Rodin
Context: Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated. It is the joy of the intellect which sees clearly into the Universe and which recreates it, with conscientious vision. Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world and to make it understood. p. 7-8
— Auguste Rodin
Context: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks; I try to put myself in the spiritual State of the men who hâve left us the antique statues. The 'Ecole' copies their works; the thing that signifies is to recover their method. I began by showing close studies from nature like The Age of Brass. Afterwards I came to understand that art required a little more largeness, a little exaggeration, and my whole aim, from the time of the Burghers, was to find a method of exaggerating logically : that method consists in the deliberate amplification of the modelling. It consists also in the constant reduction of the figure to a geometrical figure, and in the determination to sacrifice any part of a figure to the synthesis of its aspect. See what the Gothic sculptors did. Look at the cathedra! of Chartres; one of the towers is massive and without ornament : they sacrificed it to give value to the exquisite delicacy of the other tower. p. 60-61 Alternative translation: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art ; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think ; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks ; I try to put myself in the state of mind of the men who have left us the statues of antiquity. The schools copy their works, but what is of importance is to rediscover their methods. First I made close studies after nature, like "The Bronze Age." Later I understood that art required more breadth — exaggeration, in fact, and my aim was then, after the Burghers of Calais to find ways of exaggerating logically — that is to say, by reasonable amplification of the modeling. That, also consists in the constant reduction of the face to a geometrical figure, and the resolve to sacrifice every part of the face to the synthesis of its aspect. Look what they did in Gothic times. Take the Cathedral of Chartres as an example: one of its towers is massive and without ornamentation, having been neglected in order that the exquisite delicacy of the other could be better seen. In: Andrew Carnduff Ritchie, John Rewald (1945). Aristide Maillol: With an Introduction and Survey of the Artist's Work in American Collections. p. 19
„The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.“
— Auguste Rodin
Context: The artist must learn the difference between the appearance of an object and the interpretation of this object through his medium. The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation. Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7