Sculpture "The Thinker" (38 cm), version in bonded bronze
Sculpture "The Thinker" (38 cm), version in bonded bronze
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museum replica | bonded bronze + stone | handmade | height 38 cm
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Sculpture "The Thinker" (38 cm), version in bonded bronze
Rodin saw himself as a creative giant, and his thinker also reveals a trait of the greatest sculptor of his period. His long preoccupation with Dante gave him a fear of existence; he developed ideas of a heaven and a hell with indeterminable boundaries. In 1880, he received the state commission for a monumental portal of the Musée des Arts décoratifs - his "Gates of Hell" depicting a scene from Dante's "Inferno". Its 186 dramatically dynamic figures occupied him to the end. Some of the figures were designed as independent free-standing statues. One example is the "Thinker": A powerfully modelled figure with swelling muscles and limbs that seems immobile. Under intense tension, he ponders the tragic fate of humanity. The form developed for the play of light and shadow is simplified, and the figure is lifted out of time into a universal state. Rodin's expressive vehemence made him the greatest inspiration of the modern age. One of the 40 authentic 70 cm high bronze copies of the "Thinker" last achieved a sale price of 10.7 million dollars at an auction at Christie's auction house in Paris in 2022.
Original: Musée Rodin, Paris. Created in 1880, signed in the cast.
Polymer ars mundi museum replica, cast by hand. With bronzed surface. Height 38 cm, on a diabase base. Size of the pedestal 20 x 5 x 23 cm (w/h/d).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
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About Auguste Rodin
1840-1917 - the most important sculptor of the transitional period between the 19th to the 20th-century.
François-Auguste-René Rodin is considered a brilliant innovator of sculpture and ranks alongside Praxiteles, Michelangelo, Cellini and Canova as one of the greatest sculptors of all time. His sculptural oeuvre is so extensive that no complete catalogue of his works has yet appeared. It would certainly cover several hundred pages.
Because he had been rejected three times by the Paris School of Art, Rodin studied at the School of Applied Arts.
Rodin was an ardent admirer of beauty. He was mesmerised by the human body, which he immortalised again and again in his "vérité fugitive", the fleeting moment: lively, vibrant beauty that took shape under his creative hands. Whatever Rodin created with his hands radiated tremendous vitality and untamed power.
His sculptures, with their multiply broken surfaces, ushered in a new era of sculpture. His sculptures, with their multiply broken surfaces, ushered in a new era in sculpture. The genius of Rodin's modern stylistic idiom, which was expressed using elements of Impressionism, abandoned the monument-like pose of the academic sculpture and brought emotional states in dynamic surfaces to life, had yet to be recognised. "Boldness of light - modesty of the shadow" - Rodin composed a dialogue of rises and falls onto the "skin" of his sculptures. Flickering highlights and mysterious shadows animate his figures and bring them to life: "Sculpture is the art of representing forms through the shift of light and shadow."
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but placed side by side on the canvas, so that the final impression emerged in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac), this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.
Bronze powder is polymer-bonded. Special polishing and patination techniques give the surface of the casting an appearance similar to the authentic bronze.
A true-to-the-original reproduction of an artwork in the same size and with the best possible material and colour uniformity.
The mould is usually taken directly from the original so that the replication reproduces even the finest details. After casting the replication, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.
A replication of ars mundi is a recognizable copy of the original.
A plastic work of sculptural art made of wood, stone, ivory, bronze or other metals.
While sculptures made of wood, ivory, or stone are carved directly from the material block, in bronze casting, a working model is prepared at first. Usually, it is made of clay or other easily mouldable materials.
The prime time of sculpture after the Greek and Roman antiquity was the Renaissance. Impressionism gave a new impulse to the sculptural arts. Contemporary artists such as Jorg Immendorf, Andora, and Markus Lupertz also enriched sculptures with outstanding works.