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Auguste Rodin's Accomplishments

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‘I saw a clay for the first time and I felt as if I were ascending into heaven. I made separate pieces—arms, heads, feet---then tackled an entire figure. I grasped the whole thing in a flash, and I did so with as much facility as I do today. I was in transports’ (Champigneulle, 1967). Born of parents in very humble circumstances in 1840, Auguste Rodin was such a unique soul who is always within his own solitary. Perhaps when his fame arrived, eventually made him even more solitary. He is always in between all the gathered misunderstandings of his art viewers. He was sent to pursue his simplest studies in a little boarding school at Beauvais, of which his uncle was the principal at his early age.
Just like many successors, Auguste Rodin …show more content…

This immediate public sensation explains that he clearly knew that the thorough understanding of the human body is one of the major elements in his works. As it was a charge that was vigorously denied, this benefited Rodin by gaining even more attention from the public with their past classical traditions critique.
Rodin’s artwork back then in 1875 during his trip to Italy was undoubtedly a marking of his major confirmation in the styles and methods he developed throughout his entire career being a sculptor. Admired by Michelangelo’s spiritual intensity, He visited his museum and under his influence, he discarded the formulaic traditions in sculpting. The most evident lesson that he took and proceed methodically from the Italian artist as seen in his sculptures is the contours of his models. Rodin once explained ‘In a human body, the contour is given by the place where the body ends; thus it is the body which makes the shape, I place the model so that light, outlining it against a background, illuminates the contour. I execute it, I change my position and that of my model, and thus I see another contour, and so on successively all around the body’ (Rodin, Elsen & Alhadeff, …show more content…

In this seminal work, he examined three main criteria to challenge the model of masculine nudity: pose, touch, and surface, making the flesh pulsate with life and so he derived away from his British contemporaries. Rodin signified a narrative which to conveys the relationship between self and its body, touching itself in the motion suggesting its consciousness and reflected light which irradiated the youthful figure. The Age of Bronze again offers many

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One of his most famous engravings, St. Jerome in His Study, is also rich in symbolism. Both the Arnolfini Wedding and St. Jerome in His Study are true masterpieces. In these two artworks we see that the painters were

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In this analysis, the sculptures’ visual elements and style will be discussed while the subject matter interpretation will be referenced throughout

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These understandable themes allow Michelangelo’s viewers to relate to the paintings at a personal level. Michelangelo and Reb Saunders can be compared to each other by how others comprehend their ideas. Reb Saunders is not understood by others because of his complex and peculiar thinking. Michelangelo, on the other hand, is easy to comprehend because of his personal style of

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His greatest work “De humani corporis fabrica libri septem” (Fabric of the human body in seven books) “laid a solid foundation for the understanding of the vast human anatomy” [Source 3]. This book included detailed drawings of human bodies as well as precise descriptions of human body parts. His work challenged anatomical understanding and was “actually considered to be the earliest accurate presentation of human body” [Source 8].

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The concept of this paper is to provide an analytical view of the various artistic influences that are present in Prometheus Bound (fig. 1) by Rubens, and how Rubens individual artistic style continued on to influence proceeding artists. This will be achieved through the comparison of Rubens work with that of other masters of his past and present time such as Michelangelo, Caravaggio, Titian, Jordaens, and Rembrandt. Prometheus Bound was painted after Rubens had moved back to Antwerp, during a short stylistic change in his career from 1608-1612 that was characterized by a strong contrast between light and dark. This phase of Rubens work was influenced by Caravaggio’s strong use of chiaroscuro and Michelangelo’s muscular figures that appeared

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733 Words | 3 Pages

The semesters that he spent in art school were ones of development and scrutiny. A broad spread of courses were taken in the history of Western Art. Here he gained knowledge of the works of Italy’s finest sculptors, Michelangelo and also the works of the Florentine, Leonardo Da Vinci. During the eighteen months at the school he developed his critical thinking. His study in period courses included Romanesque Art 1050 to 1200, the colorful points of the Renaissance, a look at contemporary artists of London, the Impressionists and Picasso.

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989 Words | 4 Pages

With such information, we are able to feel Serra’s affection for metal by empathetic imagination of his childhood; we will have better skills to read the work with an understanding of Minimalism; we recall related works to get a bigger picture of art in that specific time. With the knowledge of context, we see the reason and the outcome of an art work, instead of merely the shape and the

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At first glance, Brancusi’s version is unappealing since the block only has geometric lines of the man and woman, who are almost unidentifiable. Compared to most sculptures, it looks foreign because the rough texture and shape of the stone is still intact. Brancusi does not follow the traditional academic ways, which makes him more radical than most artists of his time. However, as one continues to observe The Kiss, it becomes more attractive because instead of the usual love scene, Brancusi makes the viewers reflect on the idea of love. When observing Rodin’s work, the audiences is automatically attracted to it since it is something that traditional done and one can clearly tell who is in the sculpture.

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He was the man who impressed me most because he influenced many people and keep his own style such as signed in the urinal as his work “Fountain”. Just as our book says, “The real achievement of the artist is seen to reside in the creation of ideas. A successful artwork will prompt new ways of thinking… ” (87) Moreover, his works are always unique, bold, and full of fantasy.

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Similoluwa Oluwole Professor Bult ART 107 13 November, 2015 Michelangelo and his work: Creation of Adam Michelangelo di Lodovico Buonarroti Simoni, commonly known as Michelangelo, was born on March 6, 1475 at Caprese, Tuscany now known as Italy (Roger 2). Michelangelo, like Leonardo, was a man of many talents; he was a renowned Florentine sculptor, architect, painter, and poet. He is credited as the founder of the high Renaissance style and considered the most influential of late Renaissance artists (Houston 16). His works exhibit his remarkable understanding of human anatomy and muscular structure, a skill which he used to incorporate emotion and liveliness into his works. He rarely painted landscapes; his subject matters were mostly human,

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Portraits drawn by Raphael are a vital source for the analysis of his artistic motives. “Lady of the Unicorn” (fig. 3), one of Raphael’s earliest Florentine portraits, owes much to Leonardo’s “Mona Lisa” in its design. However, the clarity of light which infuses even the shadows with colour not only recalls Raphael’s early exposure to the paintings of Piero della Francesca, but also in itself a statement he wanted to make through his art. Raphael’s obsessive experiments with clarity of features cannot be construed as a mere influence of his teachers or contemporaries. Somewhere deep down, deliberation to do away with the mysterious haziness associable with divine or religious mystification must have inspired the Italian great to incorporate

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“Flight Behavior” by Barbara Kingsolver is a brilliant and suspenseful novel set in present day Appalachia which concerns about a young wife and mother name Dellarobia Turnbow in Tennessee. Dellarobbia experiences a phenomenon that she cannot explain. Her discovery of a stunning sight of million of monarch butterflies covering trees energizes several groups. The author Barbara Kingsolver uses two literary devices throughout her novel, which are symbolism and personification. Kingsolver personifies the environment throughout the novel.

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In 1885,Auguste Rodin was commissioned by the French city of Calais to create a sculpture that commemorate six brave men of the French coastal town Calais, which in 1347 during the Hundred-Years War which was a war between England and France. These six men volunteer into captivity of King Edward III to save their town from extermination. Though King Edward III had made a deal with France which says that they would no longer get hostages and execute them but in return they would need six men of Calais to held them hostage and have to wear sack cloths and robes around there neck as well carrying the keys to the city. The leader of the Burghers was Eustache de Saint-Pierre along with Jean d’Aire,Andrieu d’Andres,Jean de Fiennes,Pierre,and Jacques de Wissant. Though in the end their lives would be spared.

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Perspective is considered one of the most important aspects of Renaissance art. Artists such as Masaccio, Leonardo Da Vinci and Raphael made the use of this device in many of their work. Thanks to Filippo Brunelleschi, who ‘invented’ and developed this technique called one point linear perspective. The intention of perspective in Renaissance art is to depict reality, reality being the ‘truth’. By simulating the three dimensional space on a flat surface, we in fact incorporate this element of realism into it.

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At age 17, Michelangelo had begun to dissect corpses from the local church graveyard to gain a much deeper understanding of the human body. Michelangelo had to be extremely cautious when examining corpses seeing as the act was strictly banned by the church, making the act illegal. Nonetheless, Michelangelo still had an amazing understanding of the human body and its proportions were extremely critical to his success rate as a sculptor and artist. Michelangelo’s incredibly realistic sculptures showed finely chiseled veins, wrinkles, muscles, bones, and nerves. Such skill was and still is unsurpassed till this day in the 21st century.

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