Through a slide show, we were led by Ian Jenkins through many of the pieces we were to see in the exhibition. He gave his interpretation of the works, many of which were unconventional and shocking at the time of their creation.
Iconic pieces like "The Kiss" and "The Thinker" were given new meaning for me. The pose of the latter, for example, with the right elbow resting on the left knee, creates torsion in the body which would be difficult for a person to hold. The position of the back of the hand under the chin in ancient Greek sculpture would indicate mourning.
Rodin was fascinated by hands and feet. He sculpted over 200 hands in different poses. Each remarkably expressive on its own.
The lecture was so interesting that the hour passed very rapidly and we were freed for a lunch break before a timed visit to the exhibition.
The exhibition was laid out to show the way Rodin interpreted and was inspired by the Parthenon sculptures. Many were copied quite directly and positioned side by side to show this. Rodin was particularly in awe of Phidias, the Greek master sculptor, who Rodin believed was the greatest ever to have lived. He used much of Phidias’ style to create his own works – the massive, six meter high "Gates of Hell’" for example, which was an interpretation of Dante’s Inferno.
Figures L and M of goddesses in diaphanous drapery from the east pediment of the Parthenon, c. 438–432 BC. Auguste Rodin (1840–1917), The Kiss. Plaster, after 1898. S. 174. © Musée Rodin. Photo: Adam Rzepka.
Walking round the exhibition one is mesmerised by the scale of some of the works. ‘The Burghers of Calais’ is a massive work that could be studied for hours and still reveal new aspects -the size of the hands and feet; the protruding ears and hooded brows; so many details that breathe life into the work and leave the impression of the fate that awaited these men.
Although I visited the Rodin Museum in Paris many years ago, this latest visit, following Ian Jenkins’ insights and the revelation of Rodin’s relationship with ancient Greece left me inspired.
As a stone carver I always try to reveal what is already in the stone and this is exactly what Rodin was after with his works – he wanted to reveal something human rather than reproduce geometric, idealised figures.
The exhibition ends with a bronze - "The Walker" – a giant pair of powerful legs with a partial, unfinished torso above. There is a feeling of power in the stride; a determination to carry on; this is what Rodin seems to have been after through his work and he succeeded magnificently.
Thanks go to Curator, Ian Jenkins, for his revealing, humorous and mesmerising lecture; to the British Museum for staging such a clever and inspiring exhibition; and to our own Barbara Marshfield for organising the trip.
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