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Rodin: The Man and his Art With Leaves from his Note-book

By Judith Cladel
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Table of Contents
  • RODIN
  • THE MAN AND HIS ART
    • WITH LEAVES FROM HIS NOTE-BOOK
  • COMPILED BY JUDITH CLADEL
    • AND TRANSLATED BY S.K. STAR
      • WITH INTRODUCTION BY JAMES HUNEKER
      • AND ILLUSTRATED WITH PHOTOGRAPHS
    • WITH INTRODUCTION BY JAMES HUNEKER
    • AND ILLUSTRATED WITH PHOTOGRAPHS
    • AUGUSTE RODIN
    • I
    • II
      • CONTENTS
    • CONTENTS
    • THE MAN AND HIS ART
    • THE CAREER OF RODIN
      • CHILDHOOD. YOUTH. FIRST STUDIES
      • RODIN AND THE BEAUX-ARTS
      • SOJOURN IN BELGIUM—"THE MAN WHO AWAKENS TO NATURE"—REALISM AND PLASTER CASTS
      • FLEMISH PAINTING—JOURNEYS IN ITALY AND FRANCE
    • CHILDHOOD. YOUTH. FIRST STUDIES
    • RODIN AND THE BEAUX-ARTS
    • SOJOURN IN BELGIUM—"THE MAN WHO AWAKENS TO NATURE"—REALISM AND PLASTER CASTS
    • FLEMISH PAINTING—JOURNEYS IN ITALY AND FRANCE
    • RODIN'S NOTE-BOOK
      • I
      • ANCIENT WORKSHOPS AND MODERN SCHOOLS
      • CONSTRUCTION AND MODELING
      • THE TRADITIONAL LAWS OF ANCIENT ART
      • II
      • SCATTERED THOUGHTS ON FLOWERS
      • III
      • PORTRAITS OF WOMEN
      • IV
      • AN ARTIST'S DAY
      • A MORNING IN THE GARDEN
      • AN ANTIQUE FRAGMENT
      • AN EVENING IN THE GARDEN
      • V
      • THE LINE AND THE STRUCTURE OF THE GOTHIC
      • THE GOTHIC BUILDERS ARE REALISTS
      • PLANS AND OPPOSITIONS
      • THE SCIENCE OF EQUILIBRIUM
      • THE LACEWORK OF STONE
      • THE NAVE
      • THE MOLDING
      • VI
      • ART AND NATURE
      • THE ANTIQUE—THE GREEKS
      • THE RICHNESS OF THE ANTIQUE LIES IN MODELING
      • RONDE-BOSSE AND CHIAROSCURO
      • ROME AND ROMAN ART
      • FOR AMERICA
      • VII
      • THE GOTHIC GENIUS
      • To THE RENAISSANCE AND THE EIGHTEENTH CENTURY
      • NOTRE-DAME
      • SAINT-EUSTACHE
      • CONCERNING COLOR IN SCULPTURE
      • THE EIGHTEENTH CENTURY
    • I
    • ANCIENT WORKSHOPS AND MODERN SCHOOLS
    • CONSTRUCTION AND MODELING
    • THE TRADITIONAL LAWS OF ANCIENT ART
    • II
    • SCATTERED THOUGHTS ON FLOWERS
    • III
    • PORTRAITS OF WOMEN
    • IV
    • AN ARTIST'S DAY
    • A MORNING IN THE GARDEN
    • AN ANTIQUE FRAGMENT
    • AN EVENING IN THE GARDEN
    • V
    • THE LINE AND THE STRUCTURE OF THE GOTHIC
    • THE GOTHIC BUILDERS ARE REALISTS
    • PLANS AND OPPOSITIONS
    • THE SCIENCE OF EQUILIBRIUM
    • THE LACEWORK OF STONE
    • THE NAVE
    • THE MOLDING
    • VI
    • ART AND NATURE
    • THE ANTIQUE—THE GREEKS
    • THE RICHNESS OF THE ANTIQUE LIES IN MODELING
    • RONDE-BOSSE AND CHIAROSCURO
    • ROME AND ROMAN ART
    • FOR AMERICA
    • VII
    • THE GOTHIC GENIUS
    • To THE RENAISSANCE AND THE EIGHTEENTH CENTURY
    • NOTRE-DAME
    • SAINT-EUSTACHE
    • CONCERNING COLOR IN SCULPTURE
    • THE EIGHTEENTH CENTURY
    • THE WORK OF RODIN
    • I
      • THE STUDY OF THE CATHEDRALS—INFLUENCE OF THE GOTHIC ON THE ART OF RODIN—"SAINT JOHN THE BAPTIST" (1880)—"THE GATE OF HELL"
      • "THE GATE OF HELL"
    • THE STUDY OF THE CATHEDRALS—INFLUENCE OF THE GOTHIC ON THE ART OF RODIN—"SAINT JOHN THE BAPTIST" (1880)—"THE GATE OF HELL"
    • "THE GATE OF HELL"
    • II
      • "THE BURGHERS OF CALAIS" (1889)—RODIN AND VICTOR HUGO—THE STATUE OF BALZAC (1898)
      • RODIN AND VICTOR HUGO
      • THE STATUE OF BALZAC (1898)
      • THE EXPOSITION OF 1900—THE BAS-RELIEFS OF EVIAN—RODIN AND THE WAR
      • THE END
    • "THE BURGHERS OF CALAIS" (1889)—RODIN AND VICTOR HUGO—THE STATUE OF BALZAC (1898)
    • RODIN AND VICTOR HUGO
    • THE STATUE OF BALZAC (1898)
    • THE EXPOSITION OF 1900—THE BAS-RELIEFS OF EVIAN—RODIN AND THE WAR
    • THE END
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