Introduction: Rodin before Rodin 26 Childhood and Training 27 Early Career 28 I. A Clever Strategy 32 The Quest for Official Recognition 35 England and Belgium 45 Producing a Portrait of a Famous Man 50 In Paris: First Dealers, First Collectors 57 A New Social Status 60 II. The Gates of Hell and The Burghers of Calais 72 "These Places of Labor..." 74 The Gates of Hell: A Wall and a Crowd 79 The "Secrets" of Michelangelo... 95 The Burghers of Calais 111 Finishing The Gates for the Exposition Universelle of 1889 117 The Monet-Rodin Exhibition: Choosing The Burghers 120 III. Rodin in 1889 124 A Name That "Grows by the Day" 126 Ugolino and the World of Dante 128 Interweaving Sources: The Kiss 133 The Expression of the Body 137 Learning from the Masters 140 Close to Nature 142 New Modes of Creation 146 Assembling: I Am Beautiful 149 Increasing: The Three Shades 153 First Partial Figures 156 IV. Victor Hugo and Balzac: The Invention of a New Monumentality 158 Bastien-Lepage and Claude Lorrain: First Forms of Renewal 162 Victor Hugo, First Project: Rejected 167 Victor Hugo Seated, Victor Hugo Standing, and Balzac: Three Parallel Projects 1891-95 168 The Large Models, 1894-98 175 Seeking out the Essential 186 The Monuments: Belated Recognition 187 V. Plasters and Marbles 190 Building an International Reputation 192 Desire for Marble, Rejection of Carving 195 Plaster, the Preferred Means of Expression 196 From Plaster to Marble: Rodin and His Assistants 215 Symbolist Marbles 219 Informal Series 229 VI. Rodin and Modernity: The Turning Point, 1895-1900 240 From The Shade to Meditation: The Principle of Nonverbal Communication 246 The Battle with Sculpture 253 The Gates of Hell in 1900: Escaping Limits 256 A Passion for Drawing: "The Pursuit of Nature" 260 Rodin's Working Method 267 "Art Is a Form of Love" 270 Drawing and Sculpture 280 VII. Drifting Toward Symbolism in the Portrait 290 Theory of the Portrait: "The Soul Is the Great Statuary" 293 Camilles 293 Minervas 309 The Charm of Society Commissions 315 Symbols of the Symbolic 328 VIII. Antiquity and Nature: Timeless Beauty 336 An Artist at the Height of His Fame 339 Collections and Collectors 340 Rodin at the Metropolitan Museum of Art 344 A Passion for Antiquity 347 The Walking Man: Gesture and Movement 348 Partial Figures, Pure Beauty 352 "Tumultuous Plasters...Survivors of a Great Cataclysm" 368 Time of the Cathedrals 370 Cambodian Women and Dance Movements: "Shapeshifting in a Genre Varying Between Greek and Japanese 380 The Antique and Nature: The Same Mystery 385 Conclusion: Rodin's Fame 386 The Final Years 387 The Donation 387 After 1917: The Musee Rodin's Policy 388 Polemic in the United States 391 Repercussions 392 Appendices Chronology 397 Notes 402 Bibliography 415 Index of Names of People 419 Index of Works 425 Photographic Credits 429 Acknowledgements 431
Antoinette Le Normand-Romain has been Director General of the National Institute of the History of Art in Paris since 2006. She specializes in French sculpture of the nineteenth and early twentieth centuries, including the work of Rodin and his partner Camille Claudel. Le Normand-Romain was a sculpture curator at the Musee d'Orsay and for twelve years at the Musee Rodin, where she undertook a new catalog of the collection.
"Le Normand-Romain, former curator of the Musee d'Orsay and Musee Rodin, offers a large-format, lushly illustrated book worthy of its subject...The pairing of scholarship and imagery in this major work makes it a definitive resource, of interest to both researchers and art enthusiasts." --Booklist "Le Normand-Romain has the credentials to create a definitive study...This truly comprehensive book, boasting 350 illustrations, would appeal to postsecondary students and sophisticated readers interested in European art." --Library Journal "A wealth of eye-witness accounts and ... short, well-paced chapters combine enlightening knowledge and a feel for narrative not often found in this type of book." --Telerama