Who Is Auguste Rodin: Sculpture Male Nude Figure

Then there is a sculpture called ‘Kouros/statue of Standing Youth’ which represents the meant back in the day and age. The sculpture is a very young, athletic, toned man. This man has the body every man wants. This sculpture is desirable to every women. This man represents power, and desire. Unlike the sculpture of the woman this man has a face and a very powerful looking

I can only tell by body language that they want to spread heroism between men and women. The use of marble links the sculpture to the glow and smoothness of the male skin. In this sculpture, it appears to be characterized by imagery aimed at the sense of the marble statue. The standing sculpture appears to be relaxed, while the median line makes an angle. While standing upright, the figure’s feet are place in a certain way that brings a shifting effect or movement and a stable poise.

The greatest similarity within both sculptures is the delicacy of detail given to the physique of both figures. The bulging muscles, furrowed brow and ‘broken in’ nature of ‘Boxer at Rest’s’ body displays the rigor, discipline and strength of the human body. ‘David’s’ lean and poised form display the minute detailing of the male form and the delicate balance between the testosterone-based confidence and strength of mankind with the emotional and intellectual nature that embodies both masculinity and femininity (Allen, 2014). Both in the Hellenistic and Italian Renaissance periods, the human form expressed a worthy study for artists and sculptors, because of the difficulty in accurately rendering it with verisimilitude. As such, the Greeks held that the best sculptures were those that demonstrated the godliness and strength of man, while the 15th century Italians held that the best sculptures were those that depicted man as he was; both physically and intellectually. Regardless, in both cultures, the human form was given great importance. The Hellenistic Greeks viewed man as the measure of all things (Castelle, Coquinot & Bourgarit, 2016). The Italians of the 15th century, who also held the human form in great esteem, saw man as an aspect of nature and creature capable of rationality, science and great achievements. Where the Greeks saw a demigod, the Renaissance Italians saw an accomplished

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

Greek art, especially sculpture, was a common way to explore and reach past the confines of mankind’s natural appearance be it through penises, huge muscles, or generalized unrealistic body standards. Hercules and the Hydra, a sculpture by Mathias Gasteiger, presents an image of masculinity through the expressive posture and form of Hercules once you look past those gleaming bronze pectorals, and into the intricate details of the piece.

The body of Adam, fully nude with the exception of a leaf, is very realistic and accurate, greatly detailed from his tightly curled hair to the creases in his knuckles. Without even touching the work I can “see” the purity of its marble and the smoothness of its carving. The muscle and facial expression of Adam are remarkably convincing qualities, showing the overall tense feeling of Adam’s pose. He stands on a flat base, and it is seen there that he is leaning forward because both feet are slightly lifted off the ground. He seems to be moving in a forward direction. That encouraged me to explore the back of the sculpture, where I found the same remarkable realism through muscles depiction and perfected proportion.

The texture of the surface of this sculpture is extremely rough, obviously due to the material from which it was made from. This roughness is somewhat appropriate in that it displays this characters intense anger. The garb of this statue is smoother than that of the flesh, and hangs down to the back of his feet. It flows in a natural way, creating a sense of depth and dimensionality that the rest of the statue lacks. The wavy, curvy lines found throughout his attire makes the eye move around the lower portion of the body, and brings the eye upward toward the chest and stomach region. It seems to define the legs in a

TXT- This sculpture resembles almost like a human, which suggests that they are machines and convey strong powerful qualities like them. He worked with multiple designs to create this geometric figure with complex forms of metallic alloy to bring out the visual qualities of the composition. pg 287

The way that the face expresses this emotion brings the entire piece together in a way that furthers the effect of making it look as if a mere statue could move like a living being. Nonetheless, its baffling to see such a silly faced young man looking as if he is striding successfully and confidently into a heated situation with his curly, and heavily detailed, mane of hair flowing from his head. Judging by the sculptures name, The Young Archer, a narrative presents itself where it is suggested that the young man is considered an incredibly talented archer who is currently walking away from battle, free of any visible wounds or bruises. On the other hand, it could be depicting the young man actually making his way to the fated battle in which his archery skills will be put to the

Rodin’s sculpture, for all its affinity to great literature from Dante to Baudelaire, has nothing

Auguste Rodin sculpted the Thinker between 1881 and 1919. The original thinker is currently located in Musée Rodin, which is located in Paris, France. The Thinker, originally constructed to represent Dante Degli Alighieri pondering his famous poem, The Divine Comedy, was made to be on top of the compositional piece Rodin created as an entranceway for the Musée des Arts Décoratifs. This piece, known as The Gates of Hell, is based on Dante’s 16th century poem, The Divine Comedy. For this reason, the original name of The Thinker was The Poet; however, as the piece began to gain precedence over The Gates of Hell, its name was changed, and today it is commonly recognized as a symbol of philosophy and learning. The Thinker also became known as a symbol of the socialist movement in France during 1906 and onwards, which was a time of political and social turmoil. As a result of The Gates of Hell, Rodin’s most famous works would appear to the public. These pieces include The Kiss, The Age of Bronze, The Monument of Balzac, and The Burghers of Calais. The Thinker was created at the front of Impressionist Sculpture; however, Auguste Rodin never showed his work under the title of Impressionism, therefore it is difficult to associate Rodin with this period of art. Rodin’s work has remained one of the most innovative and groundbreaking of any sculptors in the

His arms are slightly long for his body, and the muscles not as developed as those of a man. His waist is small, and the form of his ribs is sculpted enough to know that he is lacking muscle definition. His stomach seems to pop out a little bit, perhaps suggesting the "baby fat" that he has yet to work off. He has one hand resting limply on his hip, while his other rests on a sword handle. His hair is shoulder length and slightly untamed, while a hat rests slightly tilted atop his head. His head is tilted slightly downward, and a slight upward bend in his lip looks almost like a building smile. One leg is straight, supporting his weight, while the other is propped on the head of the slain Goliath. The bends of his limbs are very natural, and the attention to detail exemplifies Donatello’s understanding of human anatomy. A closer look at the sculpture, however, reveals the details that set it apart from other works of the master.

“The Thinker” by Auguste Robin is set to represent the Human man. It’s very positioning symbolizes the very embodiment of a simple thought. In his lifetime, Rodin made at least 10 castings of “The Thinker”. However, that number has grown to over 21. You can find them all over the world, from the Rodin Museum in Paris to the Norton Simon Museum in Pasadena, Calif., to the Rodin Museum at the Philadelphia Museum of Art. Many of the bronze copies, as well as the original plasters for this piece, have been displayed in a central position so that visitors can see it from every conceivable angle. A marvel of the creative world. The style which Auguste Rodin developed throughout his professional life can in part be attributed to his artistic education or the lack of it in any formal capacity. “The Thinker" by Auguste Rodin is set to represent the Human man.