Word: rodins
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Dates: during 1960-1969
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...This realization gave the show different meanings to white and black viewers. To one white viewer, writing in the Rhodesia Herald, the show offered "nothing but crudity, primitiveness and savagery . . . we are used to a culture that produces artists of the calibre of Michelangelo, sculptors of the calibre of Rodin." But a serious and elegant Negro was led to wonder "whether the local Europeans were able to understand anything of all this...
...complement to the exhibition the Chrysler Museum has several pieces of sculpture on display, including one of four existing young ballet dancers by Degas and a variety of pieces by Rodin. For devotees of assemblage, Kearney's "Chicken Age" will rattle up and down and around at the press of a button. The message of Province town this summer is that in the still shifting sands of artistic fortune the critic is all too prone to narrowness of vision in judging his contemporaries. But the Chrysler exhibit also presents a historical perspective which the critic can survey and begin...
There he became so absorbed in his work that some of his schoolmates were under the impression that he was a mute. Bourdelle went on to the tradition-bound Ecole des Beaux-Arts in Paris (which he quit in disgust after six months), finally landed in the studio of Rodin. The great man admired his young assistant from the start, but in spite of his affection for the master, Bourdelle never considered himself a Rodin disciple...
...Mood He Chose. Rodin was essentially a modeler; Bourdelle constructed his figures as if they were architecture. His inspiration came from many times and many places-from the early Greeks, the Assyrians, from medieval church sculpture, from "all my memory of the songs of the masters, of innumerable architectures." But Bourdelle's main concern was to build up his forms in such a way that they not only displayed exactly the right tension with each other but also possessed lives of their own. Whether turning out monuments or figures a few inches high, he could produce any mood...
When he first settled in the U.S. in 1923, he was hailed by the critics as "the greatest sculptor since Rodin." The fact was that he loathed Rodin. "Since photography," he said, "representation is unnecessary." His sculpto-paintings-many-colored shapes arranged, friezelike, upon a flat plane -were pioneer constructions. He boldly used glass, wood, clay, metal or mother-of-pearl to achieve new effects, often allowing the materials to shape their own destinies, much as today's abstractionists let their work grow out of itself. Long before the younger Henry Moore, he gouged holes in his sculpture...