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Rodin Quotes

Browse 26 quotes about Rodin.

Rodin Quotes

“- Rodin'in Fallen Caryatid heykeli için - Yenilgideki zafer, bundan daha yücesi yoktur. Vazgeçmiyor, Ben; altında ezildikten sonra bile o taşı kaldırmaya çalışıyor. O, evdeki çocuklarına bir maaş daha götürebilmek için kanser tarafından kemirilirken bile her gün sıkıcı büro işine gidip gelen bir baba. O, annesi Cennet'e gitmek zorunda kaldığı için küçük kardeşlerine bakmak zorunda kalan on iki yaşında bir kız çocuğu. O, dumanlar kendisini boğar ve alevler kaçış yolunu keserken hâlâ işini yapmaya çalışan bir santral operatörü. O, başarılı olamasalar da asla vazgeçmeyen tüm bu bilinmez kahramanları temsil ediyor.”

“What appears in the former statue of Apollo, however, cannot simply be equated with the Olympian of the same name, who had to ensure light, contours, foreknowledge and security of form in his days of completeness. Rather, as the poem's title implies, he stands for something much older, something rising from prehistoric sources. He symbolizes a divine magma in which something of the first ordering force, as old as the world itself, becomes manifest. There is no doubt that memories of Rodin and his cyclopian work ethic had an effect on Rilke here. During his work with the great artist, he experienced what it means to work on the surfaces of bodies until they are nothing but a fabric of carefully shaped, luminous, almost seeing 'places'. A few years earlier, he had written of Rodin's sculptures that 'there were endless places, and none of them did not have something happening in them'. Each place is a point at which Apollo, the god of forms and surfaces, makes a visually intense and haptically palpable compromise with his older opponent Dionysus, the god of urges and currents. That this energized Apollo embodies a manifestation of Dionysus is indicated by the statement that the stone glistens 'like wild beasts' fur'.”

“- Rodin'in Yaşlı Fahişe (La Belle qui fut heaulmière) heykeli için - Herkes güzel bir kıza bakıp güzel bir kız görebilir. Bir sanatçı o güzel kıza bakıp yaşlandığında nasıl biri olacağını görür. Daha da iyi bir sanatçı, yaşlı bir kadına bakıp gençliğinde nasıl güzel bir kız olduğunu görebilir. Ama büyük bir sanatçı -bir usta- ki Auguste Rodin de aynen öyleydi; yaşlı bir kadına bakıp onu aynen olduğu şekilde resmedebilir... ve izleyiciyi onun bir zamanlar nasıl güzel bir genç kız olduğunu görmeye zorlayabilir... üstelik, bir armadillo kadar hassas olan herkesin, hatta senin bile, bu güzel genç kızın hâlâ hayatta olduğunu, yaşlanıp çirkinleşmediğini, sadece çökmüş bedeninin içinde hapis kaldığını görmesini sağlayabilir. Senin, hiçbir kızın kendi kalbinde, geçen acımasız zaman ona ne yapmış olursa olsun on sekiz yaşından fazla büyümediğini hissetmeni, o sessiz, sonsuz trajediyi algılamanı sağlayabilir.”

“As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say.”

“We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.”

“Remind me who you are,” he said in a gentler tone, almost a please. “How we know each other.” “Okay,” she began. “I’m Savannah Evans, a grad student and teaching assistant who teaches English at a college in Cambridge. I applied to the colony to work on my poetry and arrived six weeks ago. “We’ve spoken many times. You’ve praised my work, which I find a great honor as I’m a fan of your art.”

“The principal thing is the question of how our culture views age: that old is ugly Just think of Rodin, how he dealt with people of all ages. I have the feeling that I'm alive, I have a body I can make it extremely interesting. That keeps me alive and vital. It's a kind of process of energizing myself by my belief that the classical tradition of art that we've inherited from the Greeks is a load of bullshit.”

“I walked out of the theater and started crying. My wife asked me, 'Why are you crying?' I said, 'Because I can't do that.' I didn't know how he did it. I've never seen anything like that. It's like this feat, this Rodin sculpture to me. It's like hearing an opera singer and the tears go down your face because it's not human what they're doing. It's like sounds of heaven.”

“I always have SK-II face masks in the fridge - they are excellent especially if you've been on a plane and your skin is puffy. I also love Rodin face oil with jasmine - it's delicious and gives you a real glow. I always use Chanel eye cream. I go to have my eyebrows waxed and lashes tinted, and then I always curl my eyelashes.”