Word: rodins
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Dates: during 1960-1969
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Here was lust and love, birth and creation, hell and despair; and each emotion showed not only on the faces but in every muscle of each arm and leg. The portrait busts seemed timeless, as if the sculptor knew no theme that was not eternal. The Auguste Rodin show at Manhattan's Museum of Modern Art was near perfection-the superb work of a giant superbly installed. The public responded by joyously wallowing in the incredible vitality of bronze and stone bursting with life, of figures that writhed, embraced and entwined themselves. The critics were all superlatives...
...avant-garde of 20 years ago, Rodin was an overwrought sentimentalist. The great cubist sculptor Jacques Lipchitz (whose own retrospective is finishing a nationwide tour) ruefully recalls how appalled he was when someone told him that old Rodin had liked a Lipchitz sculpture. "What could be so wrong with my little sculpture that Rodin liked it?" he asked. But Lipchitz came to realize that though Rodin dealt with the human figure, he was breaking it down, exploring form, probing its mysteries much as the cubists were. Rodin's Walking Man, thought to be a study...
...happy duty of the museum to stand guard over the whole history of art and to make certain that what is good is never too long neglected. To an extent, the Museum of Modern Art and its excellent catalogue have performed this service for Rodin. The show that opened last week firmly established him as the father of modern sculpture, an artist who gave new movement to static form...
...Great Propagators. By the thousands people came-upper Madison Avenue ladies interestedly peering at The Kiss, a beatnik who had to see the show even if it meant lugging the baby uptown, suburban matrons intelligently relating Rodin to the Greeks. Until modern times, only a tiny proportion of humanity ever looked at art, and even they were confined to what was close at hand. Now museums more than ever search out the treasures of the world, hidden in private collections, ancient temples, obscure monasteries, half-forgotten castles. They gather the works of one man or one school from all over...
...disaster, but if disasters there are in the Hirshhorn collection as a whole, they will not be found at the Guggenheim. From the 37 Daumiers to the 17 Degas, the 27 Moores and the 15 Giacomettis; from the three heads of Baudelaire-one by Duchamp-Villon, one by Rodin, and a third by Elie Nadelman-to Leonard Baskin's mournful John Donne in his Winding Cloth, to the delicate construction by Naum Gabo, the exhibition provides one delight after another...