H. de Roos - Rodinīs Approach to Art |
21. founding father of Modernism
Bourdelle, who worked as a stone carver in Rodinīs studio, shared his passion for dance studies. In his own work, Bourdelle continued to create moved, expressive surfaces, and he remained a close friend of Rodin. But for other sculptors of the younger generation, Rodin often appeared as an overmighty artistic father, from whom they had to gain a distance, in order to develop their own style.
Despiau was
also discovered by Rodin at the Beaux-Arts salon of 1907,
where Despiau exhibited his bust of Paulette. Rodin employed him in
his atelier as a rougher and pointer till the First World War, while Despiau
continued to produce his own work as well. Despiauīs work also seeks a
greater simplicity of form. Brancusi, coming to Paris in 1904, was also invited to work in Rodinīs studio Brancusi as an apprentice, but declined the offer, claiming that nothing grows in the shade of a tall tree. Brancusi rejects all decorative detail and theatrical expression. He tries to develop minimal forms to capture the core of his subject. He sometimes picks up titles already employed by Rodin (The Kiss, The Danaid, Male Torso), but works them out in simple, powerful forms. In his Rodin studies, J.A. Schmoll analysed the relationship between Brancusi and Rodin as a form of "contradictory filiation". For more information on single artists, please see biographical articles on: Rainer Maria Rilke (1875-1926) Constantin Brancusi (1876-1957) Alberto Giacometti (1901-1966)
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