Auguste Rodin: The Man - His Ideas - His Works — John Stuart Mill — John Shaqi
Auguste Rodin: The Man - His Ideas - His Works
John Stuart Mill · en
It is true, nevertheless, and is generally admitted even by its most
active adversaries that this great figure possesses a strange haunting
power; when one had seen it in the Salon one could see nothing else
after it, and could not succeed in getting away from it. People
returned to it, in order to attack it, but they did return to it
inevitably. The same official sculptors who in 1877 had accused _The
Age of Brass_ of being cast from life because the figure was so exact
did not shrink from accusing this same Rodin, matured by twenty years
of work, of "not knowing the figure" and hiding his Balzac under a
robe out of weakness. Besides these reproaches, which were made in
bad faith, reproaches arose which exclaimed at Rodin's madness or
hypocritically regretted that a man of so much talent should have made
so great a mistake. But one thing which the _Bahac_ never encountered
was indifference; what was the spell which compelled everybody to
regard it as an irritating puzzle, as a challenge, as a work out of the
ordinary run? Plenty of hostile faces were to be seen, but many of
them showed a secret fear of being in the wrong, of misunderstanding a
fine thing, a work which was a forerunner. This same fear might have
been read as early as 1867 upon the faces of the detractors who stood
in a ring around Manet's first works.
The spell lay in the extreme simplification, the reduction of the
elements to a powerful unity, according to a scheme with which Rodin
had made experiments in silence and which he now revealed. And at
this point I am led to a brief explanation of Rodin's ideas upon the
technical part of his art.
At the time of the _Balzac's_ appearance I gave an account of the way
by which Rodin had been led to a new conception of sculpture. This was
in an article[3] that has been reproduced more or less everywhere, and
that Rodin has been good enough to consider as the emanation and direct
expression of his artistic wishes. I cannot enter into all the details.
The scale of this book would not allow of that, but the following are
the principal points of that evolution.