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
His work at the ornament-maker's allowed Rodin to earn his living as an
art-worker and as a strenuous and silent student; and he vegetated in
this manner until he attained his twenty-fourth year, never ceasing,
in spite of his poverty and of his daily labour, to work at sculpture.
Then he offered himself as an assistant and pupil at the studio of
Carrier-Belleuse. Carrier-Belleuse was then at the full height of his
reputation as an elegant sculptor, whose real gifts of spontaneous
invention were being rendered insipid by his desire to please. Rodin
remained six years at Carrier-Belleuse's, and worked there without
gaining much instruction. But he meditated and taught himself. From his
twenty-fourth year dates the head known as _The Man with the Broken
Nose_, which is a masterly work, strongly inspired by the antique,
and already foreshadowing all his future. This clay head, which the
young man sent to the Salon of 1864, was refused. From time to time
Rodin tried to compete for admission to the École des Beaux Arts; he
was thrice refused. This disgusted him with the usual career upon which
his lack of any income invited him to enter. His ideas, his independent
temper, his presentiments, and his love of an art personal to himself,
showed him that he would never gain anything, and never have the
academic discipline necessary to succeed. He took advantage of an
opportunity. Carrier-Belleuse had a commission at Brussels and did not
care to execute it; Rodin got permission from his master, who esteemed
him, to undertake it in his name, and, after having spent six years
in the fashionable sculptor's studio, he went to Brussels, where Rude
had already spent a considerable time. He was destined to remain there
until 1877, working with the Belgian sculptor, Van Rasbourg, at the
pediment of the Bourse, where his sign manual may still be seen, as it
may upon some caryatids of a house on the Boulevard d'Anspach and upon
some other works.
Of this exile at Brussels we know that the artist retains only kindly
memories, but he is too sparing of personal details to enable us to
analyse with any certainty this part of the life of a tenacious,
concentrated man who, entirely occupied with his dreams, with
indefatigable study, the anxieties of poverty, and his lonely pride,
had no desire to be known.