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August Rodin was one of the foremost sculptors of the modern age, influencing every sculptor who came after him. This handsome book by Catherine Lampert offers new insights into the creative processes of this great French artist.
"This book attempts to separate Camille's art from that of Rodin and to show its connections to the artistic and spiritual ideas of her brother, the poet Paul Claudel. Like her brother, Camille communicates in her art the "silence" of things. This "silence," however, is not an inarticulate void, a nothingness, an unlimited potentiality, as it is for Rodin, but it is communicative, actual, originative, and meaningful."
This book is a collection of papers delivered at an international conference in September 1996 at the Scottish National Gallery of Modern Art during a major Giacometti retrospective. The contributors are leading curators, art historians and literature specialists. While the relationship between nineteenth- and twentieth-century painters and writers has been the subject of intense interest in recent years, the parallel relationship between sculptors and writers has been largely neglected. These essays seek to redress the balance by looking at a variety of ways in which the conventional barriers between writing and sculpting were broken down by such pioneering figures as Rodin, Degas, Bourdelle, Valéry, Apollinaire, Reverdy, Breton, Bataille, Arp, Picasso and Giacometti. Among the topics discussed are: the many personal and professional contacts, dual artistic talent, 'Ecrits d'artistes', ekphrasis, sculpture as object, the sculptorly representation of the poet, the poetic representation of the sculptor, sculpture as metaphor, proprioception and mental images. Fully illustrated throughout, this book offers new perspectives on familiar masterpieces like Rodin's Gates of Hell, but also opens up less well known subjects like Valéry's sculpture and Breton's Object-Poems. Above all it makes a provocative and original contribution to Word and Image studies.
Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.
Biografi om den franske billedhugger, der levede 1840-1917
Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange - from rivalry to inspiration to collaboration - between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900.