August Rodin The Thinker Analysis

Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.

The sculpture demonstrates the idea of children’s mind development. What would one growing child naturally think and imagine, and how do they perceive and describe the themes that are often sublime which us adults lack to connect. This significance retrospect to where we earlier developed our creative thoughts and character.

The style of this sculpture falls under impressionism. The dimensions are ( 113x 57.8 x 40.5 cm). This particular sculpture was actually entered in a competition that was intended to design a monument that was meant to honor and salute the heroes of Paris who took part in the Defense of Paris during the Franco-Prussian War, although Rodin did no win the contest this monument was still able to be installed in Verdun in the 19th century to show appreciation to the French soldiers of World War I. When you look closely at this sculpture you will see a female who has wings and to me this symbolizes an angel, she is over top of a warrior of some sort who seems hurt or wounded, possibly dead. This female may be his guardian angel or something. The lady with wings seems to be screaming because her mouth is wide open , I am not sure if this is a cry for help or a rejoicing moment.

The artist made great use of the elements, lines, colors, texture, and patterns. As well as other none strategic elements to make the eyes move around the fresco. A few elements that have been confirmed to be used in this fresco are kaolinite, calcite, and laic. These powered pigments that the artist mixed with water made very natural looking tones. These tones where used widely

The piece was made out of marble using a hammer and a set of chisels. As with Greek sculpture, the Romans worked stone, precious metals, glass and terracotta but favored bronze and marble above all else for their finest work. Over the years the bust has many rough spots and a few chips.

The fact that the sculpture is a bronze also impacts the meaning of the piece. Not only does the medium help make the piece more structurally stable and prevented it from breaking, but it also creates a more rigid and

Brancusi's revolutionary reversal of the base from passive podium to generative element has likewise informed Didier Vermeiren, who is best known for his large corpus of works based on the assemblage of two identical pedestals. In Vermeiren's so-called pedestal on top of a pedestal, pedestal and sculpture form replicas of one another. Elevating the element that is ordinarily used for the display of works gauged more valuable, all these artists have cunningly received, aesthetic orders. In the process, they have problematized and restructured the power relations between high and low, aesthetic and functional. Similarly, in different versions of the Endless Column, Brancusi played categories of pedestal against sculpture, and sculpture against architectural unit, until formal and functional elements performed an intricate self-cancellation. Unquestionably, next to the producer of the readymade, Brancusi was a legitimate "transformateur Du Champ."

The work is a three-dimensional additive statue made entirely of bronze. The statue is life-size, although it is not too obvious because of its seated position. Being made of gray-ish bronze, the statue is monochromatic, no other colors are present, but due to

It is a very large piece made from Limestone. Limestone is a sedimentary rock which means it is formed by the accumulation of sediments, and it is very hard. The statue itself is not very detailed and is pretty simplistic. It is a statue of a human body. The statue is 71 in. (180.4 cm) which is

Sculptors of this period faced two major problems. The first, were in the cost of their materials, especially when casting in bronze was concerned. The second problem was the time that could ellipse in the creation of piece versus the demand commissions arrived (Levery 1993 p.61). King Louis XIV was among those commissioners, “… sculpture was serving a decorative function, chiefly in the royal parks and gardens” (Levery 1993 p.61). King Louis XIV involvement in art did influence but did not limit the artists to a set court style (Levery 1993 p.62). Most of the sculpture of this time period follows the Baroque style of art. The sculptures are realistic enough to feel a part of the viewer’s reality, at the same time being dramatized whether by their narrative, fascial or bodily expression. There is a mix between classical style of clothing as well as themes, and contemporary fashion. As seen in the bronze Le Parnasse Français, 1712 by Louis Garnier, depicting a scene of figures. Some of the figures are dressed in ancient Greek and Roman robes and armor, while the male figures have long curly wigs/hair that was poplar fashion in 17th and 18th France, not in the classical era. There is some religious sculpture, and symbolism however, the dominating sculptures being for

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.

Auguste Rodin’s sculpture “Adam”, the BBC article about Ecoalf “Could this Revolutionary Project Help Save the Environment?” and the New York Times video “How Russian Bots and Trolls invade our Lives - and Elections” all share the common thread, or theme of repurposing one thing or idea in order to serve a different purpose. For instance, “Adam”, a bronze statue, is meant to display the tortured nature of human existence. In order to convey this, Rodin alluded to two of Michelangelo's works, The Creation of Adam, the Sistine Chapel fresco in the Vatican and the Dead Christ of the Pietà in the Cathedral of Florence. The right arm of the sculpture borrows its position from the Creation of Adam, symbolizing birth, and the left takes its position

One of the most well-known sculptures in the world, A French Sculptor, Auguste-Rene Rodin created The Thinker (Also known as the thinking man) and was first seen completed of the year 1904. In France, the thinker was originally named The Poet, respectively Le Poète in French. Auguste started creating the artwork for a doorway, named “The Gates of Hell”. Rodin created the piece based off of “The Inferno”, a section of the Divine Comedy.

Bronze casting differed from city to city, century to century; however, they all followed some of the basic steps to sculpting ("Bronze Sculpture”). First an artist would have to model the sculpture by using a range

Auguste Rodin, - who was born November 12, 1840, and died November 17 1917 - is a French artist who is well known for his sculptures. He uses traditional, figurative imagery to convey meaning, to express life and emotions in his work. Some of his most famous statues include: The Thinker, The Cathedral and Pierre and Jacques De Wissant, Right Hand. While Rodin is a well known artist now, he wasn't widely established until he was in his 40s. “To Rodin, art was the expression of life.” (Israel, G. (2002). Artwise 2 (pp. 8-9).