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" "I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art ; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think ; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks ; I try to put myself in the spiritual State of the men who hâve left us the antique statues. The 'Ecole' copies their works ; the thing that signifies is to recover their method. I began by showing close studies from nature like The Age of Brass. Afterwards I came to understand that art required a little more largeness, a little exaggeration, and my whole aim, from the time of the Burghers, was to find a method of exaggerating logically : that method consists in the deliberate amplification of the modelling. It consists also in the constant reduction of the figure to a geometrical figure, and in the determination to sacrifice any part of a figure to the synthesis of its aspect. See what the Gothic sculptors did. Look at the cathedra! of Chartres ; one of the towers is massive and without ornament : they sacrificed it to give value to the exquisite delicacy of the other tower.
François-Auguste-René Rodin (12 November 1840 – 17 November 1917) was a French sculptor, and the preeminent sculptor of the modern era. He played a pivotal role in the art of the late nineteenth century, both excelling at and rebelling against the Beaux-Arts tradition.
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If the artist only reproduces superficial features as photography does, if he copies the lineaments of a face exactly, without reference to character, he deserves no admiration. The resemblance which he ought to obtain is that of the soul; that alone matters; it is that which the sculptor or painter should seek beneath the mask of features.
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