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AugusteRodin:

101DrawingsByNarimBender

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AugusteRodin:101Drawings

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TableofContentsTitlePage

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Foreword

Drawings

ForewordAugusteRodinwasaFrenchsculptor,usuallyconsideredtheprogenitorofmodernsculpture.ButactuallyRodindidnotsetouttorevolutionaryagainstthepast.

Hewaseducatedtraditionally,tookacraftsman-likeadvancetohiswork,anddesiredacademicrespect,althoughhewasneveracceptedintoParis’sleadingschoolofart.

Manyofhismostnotablesculptureswereseverelycriticizedduringhislifetime.Theyclashedwiththepredominantfiguresculpturetradition,inwhichworksweredecorative,formulaic,orhighlythematic.Rodin’smostoriginalworkdepartedfromtraditionalthemesofmythologyandallegory,modeledthehumanbodywithrealism,andcelebratedindividualcharacter.

ItwasthefreedomandcreativitywithwhichRodinusedthesepractices–alongwithhisactivationsurfacesofsculpturesthroughtracesofhisowntouchandwithhismoreopenattitudetowardbodilypose,sensuality,andnon-realisticsurface–thatmarkedRodin’sre-makingoftraditional19thcenturysculpturaltechniquesintotheprototypeformodernsculpture.

Sketcher,painter,engraver,sculptorandcollector,AugusteRodinisrecognizedworldwidefortheexceptionalauthenticityofhisanatomicalsculptures,butdrawingwashismeansofdiscovering“truth”inlifeandinart:forhim“good”drawingrepresentedtruthandsimplicityinnature;‘bad”drawingwasself-conscious,manneredinitsrepresentation,andoftendisplayedanignoranceofnatureorinexactobservationwithattemptstomaskitwithartifice.

Rodinwasaprolificdraughtsman,producingsome10,000drawings.

Hisdrawingswereseldomusedasstudiesorprojectsforasculptureormonument.Althoughtheworksonpapercanonlybeshownperiodically,owingtotheirfragility,theroletheyplayedinRodin’sartwasbynomeansminor.

Asthesculptorsaidattheendofhislife:

“It’sverysimple.Mydrawingsarethekeytomywork.”

Drawings

Woman,1890,Watercolor,withgraphite,onpaper

Sphinx,1898-1900,Watercolor,withgraphite,onpaper

BathingWoman,1900-1902,Watercolor,withgraphite,onpaper

MermaidBath,1900,Watercolor,withgraphite,onpaper

Dancer,Undated,Watercolor,withgraphite,onpaper

NudeStudy,Undated,Watercolor,withgraphite,onpaper

KneelingWoman,c.1900–1908,Watercolor,withgraphite,onpaper

Nakedwomansitting,1900,graphiteonpaper

Womandraped,1917,graphiteonpaper

FemaleNudefromBehind,aScarfaroundHerShoulders,after1901,Watercolor,withgraphite,onpaper

Nudewoman,Undated,Watercolor,withgraphite,onpaper

Thefemalemodel,Undated,Watercolor,withgraphite,onpaper

MissJeanSimpsonSeated,1903,Watercolor,withgraphite,onpaper

Cambodiandancer,1906,Watercolor,withgraphite,onpaper

Nudelying,Undated,Watercolor,withgraphite,onpaper

Dancerinveils,1900,Watercolor,withgraphite,onpaper

TheTortureGarden,1902,Watercolor,withgraphite,onpaper

Studyofanude,Undated,Watercolor,withgraphite,onpaper

ThecathedralsofFrance,1914,Watercolor,withgraphite,onpaper

ThecathedralsofFrance,1912

PortraitofHenriBecque

1883-87,Drypointoncreamlaidpaper,14.9x19.5cm

Rodinwasintroducedtocopperplateengraving,or,tobemoreprecise,toetchinganddry-pointengraving,in1881,byhisfriendAlphonseLegros,thenlivinginLondon.Althoughhesoonmasteredthetechnique,heonlyexplored13subjectsinhisengravings,butoftenprintedalargenumberofsuccessivestates.Duringhislifetime,theengravingshemadeafterhisportraitbustsenabledhimtofamiliarizethepublicwithhisfreestandingsculpture

andearnedhimanexcellentreputationasanengraver.

IntheportraitofHenryBecque,Rodinplacedafrontviewandtwoprofileviewsofthewritersidebysideinthesamecopperplate,therebymultiplyingtheanglesfromwhichthesitterwasseenandmakinghimrevolvearoundthesheet,likeabustplacedonasculptor’s

turntable.

PortraitofAntoninProust

1884-88,Drypointoncreamwovepaper,11.3x6.6cm

Springtime

c.1878,Drypointonivorylaidpaper,14.8x10.1cm

LoveTurningtheWorld

1881,Drypointonivorylaidpaper,20x25cm

Sunrise

Undated,Watercolor,overgraphite,oncreamwovepaper(discoloredtotan),31.6x47.8cm

TheRound

1883-84,Drypointindarkbrowninkoncreamlaidpaper,8.5x14.9cm

PortraitofVictorHugo,Three-quarterView

1884,Drypointoncreamlaidpaper,19.1x13.9cm

TheauthorofNotre-DamedeParisandLesMiserableswasanoldmanwhenRodinproposedtomakehisportrait.Hugo’spatiencewithsittingshadbeenstrainedtothe

breakingpointbyanothersculptorwhoseeffortsarereportedtohaveproducedamediocrebust.Moreover,Hugo’sdevotedmistressJulietteDrouetwasdyingofcancer.Detailsofthestoryvary,buttheearliestpublishedaccountsagreethatRodinwaspermittedtobepresentintheHugohouseholdandtomakesketches,butthatthepoetwouldnotactually

pose.Rodinmadedozensofdrawingsfromeverypossibleviewpoint,somerapidlysketchedonthespotandothersfrommemory,beforebeingallowedtosetupamodelingstandinanout-of-the-waycornertoworkinclay.FromthesepreliminariesRodincreatedthebustofHugothathefirstexhibitedattheSalonoftheSocietedesArtistesFrancaisin1884.Aseriesofsplendidlyexecutedprintsfollowed.ThefifthstateofthisThree-Quarter

ViewwaspublishedinthejournalL’ArtisteinFebruary1885.

KneelingGirl,enFace

Undated,Watercolor,withgraphite,onbuffwovepaperonbuffwovepaper,32.6x24.9cm

LeavingtheEarth

c.1900-1905,Watercolorandgraphite,withsmudging,oncreamwovepaper,48.4x31.7cm

KneelingNudeWomanArrangingHerHair

c.1900,Watercolor,withgraphite,onbuffwovepaper,32.5x24.9cm

PivotingNude,SeenfromAbove

Undated,Watercolorandgraphiteoncreamwovepaper,25.1x32.5cm

RecliningNude

Undated,Graphite,withstumping,ongrayish-creamwovepaper,30.8x20.4cm

Nu

c.1900-1908,Watercolor,graphiteonpaper,Publiccollection

StandingFemaleNude,BendingForward

Undated.,Graphite,withstumping,ontanwovepaper,laiddownonbuffwovepaper,31.1x20.6cm

VenusdeMilo

Undated,Watercoloronpaper,Publiccollection

RecliningFemaleNude,BackView

c.1900,Graphiteandwatercoloronvellumpaper,32x25cm,PrivateCollection

StandingFemaleNude,SeenFromRear

Undated,Watercolor,withgraphite,oncreamwovepaper,35.7x24.9cm,PrivateCollection

Etudedenu

Undated,Watercolorandgraphite,PublicCollection

FemaleCouple

Undated,Watercolorandgraphite,PublicCollection

Nude

Undated.,Watercoloronpaper,Privatecollection

StudyfortheAbduction

Undated,inkonpaper,37.5x31.5cm,Privatecollection

Sketchofanude

n.d,Watercolor,Privatecollection

Seatednudebendingover

Undated,Watercolorwithgraphite,PublicCollection

StandingNudewithDraperies

Undated,Watercolorandgraphiteonivorywovepaper,44.5x31.7cm

Sunset

Undated,Watercolorandgraphite,withsmudging,oncreamwovepaper,32.8x50.2cm

WomanwithaShawl

Undated,WatercolorandgraphiteoncreamJapanesevellum,32.6x24.9cm

SeatedNudewithBentKnee

Undated,Watercolor,withgraphite,onpalegraywovepaper,26.3x21.8cm

TheGeniusoftheSculptor

c.1880-83,penandbrownink,26.3x18.9cm

TheGeniusoftheSculptortreatsanessential,self-referentialthemeintheartandlifeofAugusteRodin.Duringhislifetimeandafterward,hewasviewedasthemodernequivalenttotheRenaissancegeniusofsculpture,Michelangelo.Moreover,Rodin

repeatedlyexploredthethemeofmalecreativegeniusinmajorworks,suchasthefamousThinker.Inthisdrawing,Rodindepictedtheartistinactivethoughtwithhishandonhishead,accompaniedbyawingless“genius”floatingupfromhim.Hederivedthissymbolofinnercreativeenergyfromthetraditionalsubjectofthewingedmusedescendingto

inspire.

BustofBellon

1883,drypoint

Faunesse

c.1905,watercolorovergraphite,32.70x24.80cm

LaRonde

1883,drypoint

TwoFigures

Undated,lithograph

TheReflection

c.1900-10,graphiteandwatercolor,32x49.3cm

Thebronzeage

Undated,PublicCollection

StudyforStJohntheBaptist,frontview


BustofMadameVicumba


Justicedraped,back


Dancer


TheGoldenAge

c.1878,Blackchalkwithwhiteongraypaper,46.8x30.4cm,PublicCollection

Thetitle,L’Aged’Or(TheAgeofGold)referstotheGreekmythofthefouragesoftheworld.Duringthefirstage,theAgeofGold,humanbeingswerethoughttohavelivedinaperpetualstateofyouthfulness,happiness,plenty,andpeace.Thethirdage,theAgeofBronze,whenthefirstwarlikemenwerethoughttodiebyviolence,wastheoriginofthe

titleofoneofRodin’swell-knownsculptures.

L’Abandonnee(Theabandoned)

Undated,Graphite,stumped,19.4x30.4cm,PublicCollection

StandingFemaleNude

Undated,Graphiteandwatercolor,28x22.8cm,PublicCollection

TheCathedralofSaintPeterandSaintPaul,Nantes

PlateIIIofLescathedralesdeFrance,publishedinaneditionof50(Paris,1914)

LescathedralesdeFrance,thebookinwhichthisplatewaspublished,containsRodin’smusingsonFrenchmedievalcathedralsaccompaniedbyahundredillustrations,largelyofhissketchesofdetailsofFrenchGothicandRenaissancearchitecture.Healsoincludeda

fewillustrationsidentifiedassketchesmadefromworksbyMichelangelo.ThisillustrationrevealsRodin’sspecialinterestintheplayoflightandshadowonthesculpture

ofthecathedral’sportal.

Hanako

c.1908,Graphite,penandbrownink,gouacheandredchalk,29.8x21.6cm,PublicCollection

TheJapaneseactressOhtaHisa,knownasHanako,posedforanumberofportraitstudies,andRodinportrayedhermobilefaceinvariousmedia.Thepensivemoodoftheactressinthissketchisdisturbedbythedisquietingsecondimageofherfaceasanenigmaticmask.RodinapparentlyintendedtouseHanakoasalivingmodelforaportraitofBeethoven,

probablyinmuchthesamewaythathehadusedamanofthecityofToursnamedEstagerasthelivingmodelforthefigure’sheadintheMonumenttoBalzac.

DeProfundisClamavi

1887-88,Penandbrownink,browninkwash,18.6x12cm,PublicCollection

WhileRodinstoppedexploringtheworldofDanteanddrawingsfromhisimaginationintheearly1880s,heremainedfaithfultothehighlycontrastedstyleofhis“blackdrawings”andcontinuedtousegouacheandinkwashuntilthelate1880s.TheperpetuationofthisstyleisparticularlynoticeableinsomeoftheinkdrawingsRodinmadeforBaudelaire’sFlowersofEvil.BecausehefeltaspecialaffinitywiththepoetandbecausehereceivedapersonalcommissionfromPaulGallimard,Rodinmade27illustrationsforthepublisher

andbooklover’sowncopyofthework,betweenOctober1887andJanuary1888.DerivedfromearlierdrawingsinspiredbyDante’sInferno,theposeofthesetwolovers,whosebodiesaremodelledbyafewshadowsinwash,expressesallthepainandpassioncontainedinBaudelaire’sverse,whichRodincarefullycopiedontothebottomofthe

page.

Astarte,aftertheDancerAldaMoreno

c.1912,Pencilandstumping,20.1cmx31cm,PublicCollection

SeldomcanRodin’smodelsbeidentified.Circa1910,hemadetheacquaintanceofaSpanishdancerandacrobatworkingattheOperaComique,calledAldaMoreno,theformsofwhoseathleticbodycanbeseeninabout50drawings.Thesesuperbline

drawings,onsheetslargerthanthoseRodinordinarilyused,wereexecutedinpencilandstumpedsoastomodelthevolumesofthebodymoreaccurately.Theinscription,Astarte,madebyRodintotheacrobat’sright,identifiesthefemalebodywithastar.Astarteor

Ishtar,thedaughterofthemoongodandthetwinsisterofthesun,wasworshippedasthegoddessofLoveandDesireinMesopotamianmythologyandassimilatedtoAphroditeby

theGreeks.

Inthisdrawing,thedancer,whoseacrobaticposerecallsayogaposition,seemstobehoveringovertheground,ratherlikeaflyingsaucer.Thelithenessofherbodyis

accentuatedbytheexcessivestretchingmovementofthesupplearm.Theextensionofandamendmentstothefingerstouchingtheedgeofthesheet,likethewordbasinscribedbytheartistontheright,illustrateRodin’shabitofturninghisdrawingsaroundtofindanew

directionforthem,anewmeaning.

ForceandRuse

c.1880,Penandink,washandgouacheoncardboard,15.5x19.2cm,PublicCollection

Thedrawingrepresentingtheviolenceofamythicalcouplingbetweenacentaurandawoman.Itishardtodistinguishwhetherwhatisdepictedistheviolenceofanabductionorthefierypassionofawoman,ardentlystraddlingthefabulouscreature’srump.Half-man,half-horse,thecentaur,whorepresentsthetumultuousbattlesbetweenbodyandsoul,betweenangelandbeast,wasoneofRodin’sfavouritethemesinthe1870s.

Springingfromtheartist’simagination,thisworkbelongstotheperiodofhis“blackdrawings”,evenifitdoesnotillustrateanepisodefromDante’sHell,butinsteaddrawsits

inspirationfromanotherofRodin’spreferredbooks,Ovid’sMetamorphoses.

Inthisalmostmonochromeworkfeaturinglarge,Michelangelesquebodies,themurkybrownwash,mixedwithgouache,concealsthelinesdrawninpencilorink,givingrisetoa

constanttensionbetweenformandhaziness,intentionandfate.

PortaloftheAbbeyChurchofSaint-Pierred’Auxerre

1881-84,Penandink,browninkwashonsquaredpaper,18.2x14.4cm,PublicCollection

Thispage,similarinstyletohis“blackdrawings”throughhisuseofinkanddarkwashesandcontrastingeffectsoflightandshade,thelowerarchitecturaldetailpossiblyrepresentsthewesternportaloftheabbeychurchofSaint-Pierred’Auxerre,whiletheupperdrawingshowsadetailfromoneofthesidedoors.Rodin’sinterestinthisclassic17th-centurychurchrevealshowthesculptor’sloveofpastarchitecturewentfarbeyondtheGothic

period.

IntheS…

c.1880,Pencil,penandink,inkwashandgouacheonpapermountedonruledpaper,18,2x13,6cm,PublicCollection

ThisworkonpaperisoneofthegouacheorinkwashdrawingsthatRodindidwhilereadingDante’sDivineComedy,in1880-83.Thecentralfigure,curleduponhimself,immersedinasortofcesspool,isliterallydrowninginvioletink,whileaprocessionofshadesseemtoobservehimfromabove.Annotatedinpenandinkontheright,danslam…,thisdrawingrecallsthemeetingbetweenDanteandoneofthecorruptersand

flatterers,AlessioIntermineiofLucca:“AndI,thencepeeringdown,sawpeopleinthelake’sfoulbottom,plungedindung…Searchingitsdepths,Itheremadeoutasmearedhead…”(Dante,Inferno,CantoXVIII).Thedrawing,madeonafragilepagefroma

notebookofordinarypaper,wassubsequentlycutoutbytheartistandstuckontoalargersheetofpaper.Theconsolidationoftheoriginaldrawingatthesametimeenabledittobeenlarged,extended.ThispracticedemonstrateshowRodinrefusedto“finish”awork,toconsideritfinal.Hewasinthehabitofreworkingearlierdrawingsandcombiningthemwithnewsketches,ornewfigures,aspartofametamorphic,cyclicprocessthatwould

laterreoccurinhissculptures.

FemaleNudewithLeftLegOutstretched

c.1890,Graphitepencil,brownink,redpastel,pen,20.2x12.7cm,PublicCollection

From1890onwards,ashisreputationgrew,theartistcouldatlastaffordtoemploymodelsonaregularbasis.Thefemalebody,inallitsmanystates,thenbecame,withafewexceptions,hisuniquefieldofexploration.Forbiddinganysortofpose,Rodindrewthe

model,askinghertomovefreelyaroundhisstudio,andswiftlyjotteddown,withsurprisingvivacity,suchandsuchamovementthatseemedrightorparticularly

expressive.ThereisnothingacademicaboutFemaleNudewithLeftLegOutstretched.Theinsistentreworkingofthecontourlinesandtheamendmentshemadeinstrokesofred

pastelattesttohisdesiretocaptureanauthentic,expressivemovement.

Hanako

1906-1907,Pencilonpaper,30.9x19.5cm,PublicCollection

ThisworkonpaperisoneofthecountlessdrawingssketchedfromlifebyRodin,withouttakinghiseyesoffthemodel.

ItiseasytorecognizeinthisfiguretheJapaneseactressHanako,whomRodinmetinMarseillesin1906.Fascinatedbytheexpressivityofherface,thesculptorpersuadedhertocomeandposeforhim.Hemodeled58sculpturesofHanako,aswellasalargenumberofdrawings,madeinasinglesitting,duringwhichhesoughttocaptureherexceptional

energyonhissheetsofpaper.

Rodinwasstruckbythepowerfulmusclesofthistinydancer’s“exotic”body,ashetoldPaulGsell:“Sheissostrongthatshecanstandaslongasshewantsononeleg,while

liftingtheotherinfrontofheratarightangle.Shethusappearstoberootedtothegroundlikeatree”

CambodianDancer

1906,Graphitepencil,gouache,31.3x19.8cm,PublicCollection

On10July1906,Rodin,aged66,attendedaperformancegiveninthePre-Catelan,Paris,byatroupeofCambodiandancers,whohadaccompaniedKingSisowathofCambodiaonhisofficialvisittoFrance.Enthralledbythebeautyofthesedancersandthenoveltyof

theirmovements,RodinfollowedthemtoMarseillestobeabletomakeasmanydrawingsofthemaspossiblebeforetheyleftthecountryon20July.

Rodinusedgouache(ochreforthegracefularmsandhead,deepblueforthetunicdrapingthebody),appliedinbroadbrushstrokesoverandbeyondthecontourlines.Allthedetailsareeliminated(garments,face,hairstyle).Allthatremainsistheconcentratedenergyofthegraceful,eloquent,age-oldgestures.“Inshort,”concludedRodin,“iftheyarebeautiful,it

isbecausetheyhaveanaturalwayofproducingtherightmovements”.

CambodianDancer

1906,Pencil,stumping,watercolor,gouachesoftleadpencilhighlightsonpaper,34.8x26.7cm,PublicCollection

Eve

1884,Penandblackink,browninkwashonpaper,25.4x18.7cm,PublicCollection

MostofthedrawingsRodinmadeinrelationtohissculptureswerenotpreparatorysketches,butdrawingsmadeafterthesculpturesoncefinished,generallyasillustrationsforabookormagazinearticle.Thisisthecasehere,sincethepresentdrawing,which

borrowstheposeofthesculptureEve,datingfrom1881.

MaleNude,withOneHandandKneeontheGround

1896-1898,Pencilandwatercolouronpaper,32.5x25cm,PublicCollection

From1896,Rodinonlymadedrawingsafteralivingmodel.Hesoughttocapturechancemovements,withouttakinghiseyesoffthemodel,withoutevenglancingdownathissheetofpaper.Inthisrarepencildrawingofamalenude,theerratic,initiallinesofthis“snapshotofamovement”arestillvisible.Rodinsubsequentlyreworkedandcompleteditwithslashesofwatercolourwash,aprocessGselldescribedasfollows:“Thecolouringofthefleshisdashedoninthreeorfourbroadstrokesthatscorethetorsoandthelimbs.Thesesketchesfixtheveryrapidgestureorthetransientmotionwhichtheeyeitselfhashardlyseizedforonehalfsecond.Theydonotgiveyoumerelylineandcolour:theygive

youmovementandlife”

SkeletonandSkull

c.1856,Pencil,penandblackinkonpaper,cutoutandpastedonasupport,25.3x11cm,PublicCollection

AssoonasRodincouldconcentrateonlearninghowtodraw,in1854,whenhebeganattendingthe“PetiteEcole”,hewastaughthowtodrawfrommemoryandalso

encouragedtopracticecopyingengravingsanddrawings.

SkeletonandSkulliscomposedoftwocopieshemadeduringhisyearsasastudent,sketchestheyoungartistcutoutandassembledtogetheratalaterdate.Theveryprecise

inklinedrawinganduseoffine,regularhatchingswerewaysofreproducingthetechniquesinvolvedinengraving,whileRodin’sfascinationfortheskeletonconveyedhisdesiretodiscovertheunderlyingstructuresofthehumanbody,beneaththevisibleouter

layerofflesh.

SlumberFlower.YoungMotherembracingherChild

c.1900,Pencilandwatercolouronpaper,25x32.5cm,PublicCollection

UgolinosurroundedbyhisThreeChildren

c.1880,Pencil,penandwash,inkandgouacheonpaper,17.3x13.7cm,PublicCollection

WhenRodinreceivedthecommissionforTheGatesofHell,heimmersedhimselfinDante’sDivineComedy,“pencilinhand”,andmadeover100drawings,whichwerenotdesignsforthemonument,butameansof“workinginthespiritofthisformidablepoet”,

ashewroteinalettertoLeonGauchez.Invadedbydarklinesorinkwashes,thesesketchesbecameknownasthe“blackdrawings”,bothbecauseofthetechniqueusedandtheinfernalworldtheydepict.Amongthedesperate,endlesslywanderingsoulswhomDanteandVirgilencounterduringtheirjourney,UgolinowastheonethatespeciallyfuelledRodin’simagination.Theartistdecidedtofollowalltheepisodesofthecount’s

tragicdestiny,fromhisimprisonmentintheTowerofPisa,wherehehadbeencondemnedtostarvetodeathwithhischildren,totheatrociousscenesinwhichhedevouredhisownsons.Inthispyramidalcomposition,thecontortedbodiesandscreamingmouthsaremodelledbyshadowygreywashesandwhitegouachehighlights,whileamassof

entangledlinesinpencilorredinkconferafrenetic,bloodthirstyaspectonthescene.Theturbulent,poignantnatureofthisimageisheightenedbythedarkexpressiononthefaceofUgolino,who,ashissonsclingtohisside,seekstostifleascreamofterrorwithhisleft

handortocoverhisravenousmouth.

StandingEmbracingCouple,ProfileView

c.1900,Pencilandwatercoloronpaper,49.8x33cm,PublicCollection

Thecontrastbetweenthetreatmentofthetwobodiesclaspedinanembrace(whosefinepenciloutlinesarecoveredbyapale,fleshcolouredwash)andthatoftheflamboyantbackgroundagainstwhichtheyareset,andtheclarityofthebordersbetweenhuman

figuresandbackground,recallthetechniqueofcollage.Theabstractbackground,asortofbloodredstagecurtain,removesallnotionoftemporalityfromthissceneoftwolovers

fusingintoone,whichhasnoplaceinthetangibleworld.

VaseadornedwithPutti

c.1879-1882,Charcoalonpaper,38.4x33.1cm,PublicCollection

Rodinworkedonseveraloccasionsindecorativesculpturestudios,wherehisskillsasadraughtsmanandmodelerwerehighlyappreciated.Thisdecorativedesignforavasedates

from1879-82,whenRodinwasemployedattheSevresporcelainfactorybyAlbertCarrier-Belleuse.ItmayberelatedtotheVaseoftheElements,whoseformwasinventedbyCarrier-Belleusein1880,butwhosedecorationwasdesignedandexecutedbyRodin.

Thetechniqueemployedinthisdrawingresemblesthatofthe“blackdrawings”,whichRodinproducedinprofusionduringthisperiod:throughhisuseofstrongcontrast,the

brighthighlightsofthereliefsstandoutagainstthedarkbackgroundofthevase.Asimilareffectisfoundinthe“paste-on-paste”reliefdesignsmadebyRodin.

TorsoofaRecliningFemaleNude,withoneHandonherChest

c.1900,Pencilandstumpingonpaper,20x31cm,PublicCollection

Inthelastyearsofhislife,Rodinnolongercontentedhimselfwithsinglelinedrawings,infinedrypencil,coveredwithalightwash.Heworkedonthemodellingwithstumping,usinghisfingertocrushasoftleadpenciltocloudover,orpartiallyobliteratethepencilmarks,toobtainhazierareas,withlesscontrastbetweenthefigureandthebackground.

ThisreturntoamorenaturalisticmodellingistypicalofRodin’slatedrawings.

Parallelscanbedrawnbetweenthemoreorlesspronouncedsfumato,ormistyunfinishedeffects,andthehandlingofthemarbles,wherefiguresgentlyemergeoutofanindistinctbackgroundandechothehazymonochromepaintingsofRodin’sgreatfriend,Eugene

Carriere.

TwoSemi-RecliningFemaleNudes

c.1900,Pencilandwatercolouronpaper,cutoutandassembled,32.6x26.2cm,PublicCollection

From1900onwards,whenRodinwasparticularlypleasedwithanattitudeormovementinoneorotherofhisdrawings,hewouldsometimescutitouttofurtherexperimentwithit.Hethusbuiltupastockofcut-outsilhouettes,takenfromhisdrawings.Hewouldthenselecttwoorthreeofthesefiguresandrearrangetheminanewcomposition.Oncehehaddecidedonthearrangement,hewouldusetracingpapertotransferthecompositionontoanothersheetofpaper,towhichhethenappliedwatercolours.TwoSemi-Reclining

FemaleNudesresultedfromtheassemblageoftwosuchforms.Rodinemphasizedthereliefofthecompositionbypassingoneofthewomen’sarmsovertheotherone’slegs.Likeallthecut-outpaperfiguresinthemuseumcollections,theseweremountedona

supportaftertheartist’sdeath.Rodinprobablyintendedtousethistwo-figureassemblageinanewwatercolour.Theideaofreplacingbrushesandpencilswithapairofscissorswouldlaterbewidelyechoed,particularlyintheCubists’papierscolles,inthegouache-colouredpapercut-outsproducedbyMatisseinthelastyearsofhislife,andinthetorn-uppapersanddrawingsHansArpusedasstartingpointsforhisConstellations,inthe1930s.

Resurrection

c.1900,Pencil,watercolourandgouacheonpaper,49.9x31.7cm,PublicCollection

Asinhissculpture,Rodinexperimentedwithcombinationsoffiguresinhisdrawings.Thisstunningcompositionthusresultedfromtheassemblageoftwocut-outfigures,

probablytracedfromtwoseparatedrawings.Ashasbeenpreviouslybeenseen,thetwofigureswerethenjuxtaposedtogiverisetoanewwork.Throughtheadditionofcolour,Rodinthenbroughtoutthemeaninghesawinthistwo-figuregroup.Appliedinbroad

strokesofthebrushthickwithgreen,blueandpurplegouache,thedarkbackgroundseemstoshrinkbackfromtheyellowhalothatlightsupthewomen’sbodies.Likeanangel,oneofthemtouchestheotherwithherrighthandandthusappearstodrawheroutofthe

darknessandbringherbackintothelightoflife.TheannotationResurrection,lateraddedbyRodin,confirmsthisinterpretationofthework,buthisfundamentalpreoccupationlay

elsewhere,asalwaysinRodin’swork,formwasmoreimportantthansubject.

StandingNude

1900-05,Graphitepencilandwatercolor,32.5x25cm,PublicCollection

CambodianDancer

1906,Watercolorovergraphitepencil,29x19.6cm,PublicCollection

FigureFacingForward

Undated,graphiteandwatercolor,32.5x25.3cm,PublicCollection

DancingFigure

1905,graphiteandwatercolor,32.6x25cm,PublicCollection

FigureBendingForwardwithRightKneeRaised

Undated,graphiteandwatercolor,33x25cm,PublicCollection

NudeWomanCarryingVaseonHead

1909,graphiteandwatercolor,50.3x31.2cm,PublicCollection

StudiesofNudeDancers

c.1900-1905,graphiteandwatercolor,35.8x26.2cm,PublicCollection

CambodianDancer

1906,Watercolorsandcrayononpaper,PublicCollection

StandingFigure,Robed

c.1880-1882,Watercolor,Penandbrownink,brownwash,andwatercolor,17.78x11.59cm,PublicCollection

CrouchingNude

Undated,Pencilandwatercolor,143/8x97/8in.,PublicCollection

Lesamants

c.1910,watercolorandpencilonpaper,32.5x25cm,PrivateCollection

TheProdigalSon

1880-1884,inkandwashheightenedwithgouachelaiddownonpaper,21x16.2cm,PrivateCollection

Nudefemalefigurerecliningonside

Undated,Graphite,23.5x36.1cm,PublicCollection

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