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[[File:Rodin p1070095.jpg|thumb|'n Bekende "fragment": ''[[Die Lopende Man]]'' (1877-78)]]
Rodin was a naturalistnaturalis, lessen concernedminder withbesorg monumentaloor expressionmonumentale thanuitdrukking withas charactermet anddie emotionemosionele en karaktervolle uitdrukking van werke. <ref>{{cite news|publisher=The Times|date=14 JulyJulie 1931|page=12|title=Art Exhibitions: Auguste Rodin}}</ref> DepartingSodoende withhet centuriesRodin ofafgewyk tradition,van heeeue turnedse awaytradisie, fromen theweggedraai idealismvan ofdie theidealisme Greeks,van die Grieke anden thedie decorativedekoratiewe beautyprag ofvan thedie [[BaroqueBarok]] anden [[BaroqueBarok Revival architectureargitektuur-herlewing|neo-BaroqueBarok]] movementsbewegings. HisSy sculpturebeeldhouwerke emphasizedhet thedie individualklem andop thedie concretenessindividu ofgeplaas fleshen op die konkreetheid van vlees, anden suggestedhy emotionhet throughdit detailedreggekry om deur gedetaileerde, texturedgetekstureerde oppervlaktes die vertoning van emosies in sy werke te surfacesbewerkstellig, andasook theom interplaydie ofwisselwerking lighttussen andlig shadowen skadu ten toon te stel. ToRodin ahet greaterin degree'n thangroter hismate contemporaries,as Rodinsy tydgenote believeddaarin thatgeglo andat individual'sn characterindiwidu wasse revealedkarakter bygeopenbaar hiswas physicaldeur featuressy fisiese eienskappe.<ref> name="H76"</ref>
Rodin's se talent forvir surfaceoppervlak-modellering modelinghet allowedhom himtoegelaat toom letelke everydeel partvan ofdie theliggaam bodyvir speakdie forgeheel thevan wholedie werk te laat praat. TheDie male'smanlike passionpassie in ''TheDie ThinkerDenker'' isword suggestedvoorgestel bydeur thedie gripgreep ofvan hissy toestone onop thedie rockrots, the rigidness ofsy hisrigiede backrug, anden thedie differentiationdifferensiasie ofvan hissy handshande.<ref> name="morey"</ref> SpeakingRodin ofhet lig gewerp op sy estetika, en in ''Then gesprek oor Thinker'',Die RodinDenker'' illuminateddie hisvolgende aestheticgesê: "What makesWat my ThinkerDenker thinklaat Dink is that hedat thinkshy notnie onlyslegs withmet hissy brainbrein, withmet hissy knittedverwikkelde browfrons, hismet distendedsy nostrilsuitgestrekte andneusvleuels compresseden lipssaamgeperste lippe dink nie, butmaar withmet everyelke musclespier ofvan hissy arms, backrug, anden legsbene, withmet hissy clenchedgeklemde fistvuiste anden gripping toestone." <ref>{{cite web|url=http://www.nga.gov/collection/sculpture/flash/zone2-2.htm|title=NGA Sculpture Galleries: Auguste Rodin|publisher=[[National Gallery of Art]], Washington, D.C.|accessdate=12 DecemberDesember 2006|format=[[Adobe Flash]]| archiveurl= https://web.archive.org/web/20061130113846/http://www.nga.gov/collection/sculpture/flash/zone2-2.htm| archivedate= 30 November 2006 <!--DASHBot-->| deadurl= no}}</ref>
SculpturalFragmentariese fragmentsbeeldhouwerke towas vir Rodin wereonafhanklike autonomous workswerke, anden hehy consideredhet themhulle thebeskou essenceas ofdie hisessensie artisticvan statementsy kunssinnige verklaring. HisSy fragmente fragments – perhapswat lackingmiskien arms, legs,bene orof a'n kop head  gemis het;– tookhet sculpturedie furtherbeeldhouwerk fromverder itsverwyder traditionalvan rolesy oftradisionele portrayingrol likenessesvan die daarstelling van soortgelykheid,-in and'n intomilieu ain realmwaar wherevorme formsom existedhul foreie theironthalwe ownbestaan sakehet.<ref>Hale, 69.</ref> NotableNoemenswaardige examplesvoorbeelde areis ''[[TheDie WalkingLopende Man]]'', ''MeditationMeditasie withoutSonder Arms'', anden ''Iris, MessengerBoodskapper ofvan thedie GodsGode''.
Rodin sawhet sufferinglyding anden conflictkonflik beskou as hallmarksdie ofwaarmerke modernvan artmoderne kuns. "Nothing, really,Niks is moreregtig movingmeer thanroerend theas maddeneddie beastmoorddadige en opgesweepte dier, dyingwat fromaan't unfulfilledsterf desireis andaan askingonvervulde inbegeerte, en wat tevergeefs om genade vainvra forten graceeinde tosy quellpassie itste passionkwel."<ref> name="alhadeff"</ref> [[Charles Baudelaire]] echoedhet thosehierdie themestemas opgeneem, anden was amongeen van Rodin's favoritese poetsgunsteling digters. Rodin enjoyedhet musiek musicgeniet, especiallyen theveral die [[opera composer]]komponis [[Gluck]], anden wrotehet a'n bookboek aboutoor [[ListLys ofvan cathedralskatedrale in FranceFrankryk|FrenchFranse cathedralskatedrale]] geskryf. HeHy ownedhet a'n workwerk byvan thedie as-yettoe-unrecognizednog onbekende [[Vincent van Gogh|Van Gogh]] besit, anden admiredhet thedie forgottenvergete [[El Greco]] bewonder.<ref> name="werner"</ref>
===Metode===
[[File:Age of bronze plaster.jpg|thumb|right|'n [[pleisterwerk]] van ''[[Die Era van Brons]]'']]
InsteadIn ofpleks copyingdaarvan traditionalom academictradisionele posturesakademiese posisies te kopieer, het Rodin preferredverkies hisdat modelssy tomodelle moveop naturallynatuurlike aroundwyse hisin sy studio rondbeweeg (despiteten theirspyte nakednessvan hul naaktheid) .<ref> name="morey"</ref> The sculptorRodin oftenhet madedikwels quickvinnige sketchessketse in clayklei thatgemaak werewat later fine-tunedverfyn was, castgegiet was in plasterpleisterwerk, anden castlaastens gegiet was in bronzebrons or carvedgekerf fromis marbleuit marmer. Rodin's focusse hooffokus was ondie thebewering handlingvan of clayklei.<ref> name="ReferenceA">Quoted in Jianou & Goldscheider, 62.</ref>
George Bernard Shaw sathet forvir a'n portraitportret andgesit gaveen ansodoende idea'n ofidee van Rodin's techniquese tegniek verskaf: "WhileTerwyl hehy workedgewerk het, heis achieved a'n numberaantal ofwonderwerke miraclesbewerkstellig. AtTeen thedie endeinde ofvan thedie firsteerste fifteenvyftien minutesminute, afternadat having'n givenvoorlopige aidee simplevan ideadie ofuiteindelike themenslike humanvorm formteweeggebring tois, thehet blockhy ofdeur clay,die hegebruik producedvan bysy theduim action'n ofborsbeeld hisgeproduseer thumbwat aso bustlewendig sovoorgekom livinghet thatdat Iek woulddit havemet takenmy itsou awaywegneem withten meeinde todie relievebeeldhouer thevan sculptorenige ofverdere anywerk furtherdaaraan workte weerhou."<ref> name="ReferenceA"</ref>
HeHy describedhet thedie evolutionevolusie ofvan hissy bustborsbeeld overoor adie month,tydperk passingvan through'n maand beskryf, deur "allal thedie stagesstadiums ofvan art'skuns se evolutionevolusie": firsteerste, a " 'n [[ByzantineBisantynse artkuns|ByzantineBisantynse]] masterpiecemeesterstuk", thendan "'n gemengde [[Bernini]] intermingled", thendan an'n elegantelegante [[Houdon]]. "TheDie hand ofvan Rodin workedhet notnie asgewerk thesoos die hand ofvan 'n abeeldhouer sculptorwerk worksnie, butmaar as thedie workwerk ofvan ''[[Elan Vital (term)|Elan Vital]]''. TheDie ''Hand ofvan God'' is hissy owneie hand."<ref> name="ReferenceA"</ref>
Nadat hy sy werk in klei voltooi het, het hy gebruik gemaak van uiters bedrewe en vaardige assistente om die komposisies te bewerk in groter stukke in (insluitende enige van sy grootskaalse monumente, soos bv. ''Die Denker''), om die klei komposisies te giet in pleister of brons, en om sy marmer te kerf. Rodin se groot innovasie was om te kapitaliseer op die veelvuldige- oftewel multi-stadiums en multi-prosesse van 19de eeuse beeldhouwerk asook die tydperk se afhanklikheid van gietwerk in pleister.
After he completed his work in clay, he employed highly skilled assistants to re-sculpt his compositions at larger sizes (including any of his large-scale monuments such as ''The Thinker''), to cast the clay compositions into plaster or bronze, and to carve his marbles. Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting.
Aangesien klei vinnig verswak indien dit nie nat gehou word of in terra-cotta oonde geplaas word nie, het beeldhouers gipsstukke gebruik as 'n manier om die klei komposisie in stand te hou. Dit was algemene praktyk wat Rodin se tydgenote betref, en beeldhouers sou pleisterwerke uitstal met die hoop dat hulle later opdrag sou ontvang om die werke te omskep in 'n meer permanente vorm. Rodin sou egter veelvuldige gipsstukke laat maak en hulle behandel as die "rou materiale" van die beeldhouwerk, en in die proses hul dele en figure her-kombineer in nuwe komposisies in en dit nuwe name gee.
Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make from the fugitive material that is clay. This was common practice amongst Rodin's contemporaries, and sculptors would exhibit plaster casts with the hopes that they would be commissioned to have the works made in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names.
AsSoos Rodin's practicese developedpraktyk intoontwikkel thehet 1890s,in die 1890's het hehy becamemeer moreen andmeer moreradikaal radicalgeword in hissy pursuitstrewe ofna fragmentationfragmentasie, thedit combinationwil ofsê figuresdie atkombinasie differentvan scales,figure andop theverskillende makingskale, ofen newdie compositionsskep fromvan hisnuwe earlierkomposisies work.van Asy primevroeëre examplewerk. 'n ofVoorbeeld thishiervan is thedie boldopspraakwekkende ''[[TheDie WalkingLopend Man]]'' (1899–19001899-1900), whichwat uitgestal was exhibited as hisRodin majorse one-person showsoloskou in 1900. ThisDie iswerk composedbestaan ofuit twotwee sculpturesbeeldhouwerke fromvan thedie 1870s1870's thatwat Rodin found in hissy studio – agevind brokenhet- and'n damagedgebreekte torsoen thatbeskadigde hadtorso fallendeel intowat neglectverwaarloos andis theen lowerdie extremitieslaer ofdele avan statuette'n versionweergawe ofvan hissy 1878 ''St.;;Sint JohnJohannes thedie BaptistDoper Preachingwat Preek'' hewat washy havingherwerk re-sculptedhet atop a'n reducedverminderde scaleskaal.
Rodin het sodoende 'n werk geskep, wat baie beeldhouers op daardie tydstip en daarna beskou het as een van sy sterkste en mees alleenstaande werke, ten spyte van die feit dat die voorwerp twee verskillende style verteenwoordig, twee verskillende houdings ten opsigte van "voltooiing" verteenwoordig; en kortkom aan enige poging om die arbitrêre versmelting van hierdie twee komponente weg te steek. Dit was die vryheid en kreatiwiteit waarmee Rodin hierdie praktyke   gebruik het;– saam met sy oppervlaktes met spore van sy eie insig, en met sy permissiewe houding ten opsigte liggaamlike houding, sensuele onderwerpe en nie-realistiese oppervlaktes – wat Rodin se herbewerking van tradisionele 19de eeuse beeldhou tegnieke-na die oorgang en prototipe vir moderne beeldhouwerk-getipeer het.
Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the time and subsequently have seen as one of his strongest and most singular works. This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any attempt to hide the arbitrary fusion of these two components. It was the freedom and creativity with which Rodin used these practices – along with his activation surfaces of sculptures through traces of his own touch and with his more open attitude toward bodily pose, sensual subject matter, and non-realistic surface – that marked Rodin's re-making of traditional 19th century sculptural techniques into the prototype for modern sculpture.
==Latere jare (1900–1917)==
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