As an artist who adored women, because he adored nature, Rodin turned to women as his main subject of observation. For The Gates of Hell, commissioned in 1880, he made numerous studies of models who walked about freely in his studio. He found his forms directly in the clay, and before nature, his source of information.
He never started from predetermined subjects but chose, depending on the young women who posed for him, the postures likely to give the body the most expression. "I do not create, he said, I see and it is because I see that I am capable of making".
This is why he did not burden himself with heads or feet or hands. And although during the first part of his career, he was obliged to earn his living by producing sensual figures, which often echoed 18th century art, to please his art patrons, after about 1895 he gradually eliminated all that he considered to be trivial or useless.
The study of antique sculpture taught him that the more a form is condensed the more it acquires power. "Life is in the contours, the soul of the sculpture is in the piece; all of sculpture is there."
Reproduction in hand patinated resin
- H. 45 cm (17,71"); W. 22 cm (8,66"); D. 19 cm (7,48")
- Material of the original
- Aix-les-Bains - Musée du Dr Jean Faure
- Woman, Nude
- Resin bronze patina
- Art movement
- 19th century
- Auguste Rodin (1840-1917)