Auguste Rodin

<div class="col-lg-6 col-md-6 col-sm-12">This impressive collection is the result of a close working relationship and friendship between Albert Elsen (1927-1995), the Stanford University curator, professor, and Rodin scholar, and B. Gerald Cantor (1916-1996), the American financier and philanthropist. It would hardly be an exaggeration to say that Auguste Rodin (1840-1917) forever changed the history of sculpture. Rarely had the medium so audaciously challenged the primacy of painting over the course of the nineteenth century. Long regarded as a “dead” medium of motionless, inert material, sculpture in Rodin’s nimble hands comes alive, breaking free of the plinths that traditionally separated sculpted figures in stone or metal from their earthbound beholders in flesh and blood. </div> <div class="col-lg-6 col-md-6 col-sm-12">What makes Rodin’s sculpture so modern, it has been argued, is the way in which he makes visible an aesthetic of <em>process</em>—how, in other words, he takes traditional sculpture apart and puts it back together again in new and daring ways. Strategies of multiplication, scalability, fragmentation, and recombinatory modes of assembly constitute some of the hallmarks of Rodin’s artistic practice. Key to these various strategies is a relentless spirit of play and experimentation with the translation of media—clay, plaster, marble, bronze—through technical procedures of molding and casting. <em>Patrick Crowley, PhD, Associate Curator of European Art</em></div>

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