And now? Is it possible that another age demanding this form of expression had arrived, an age demanding a strong and perceptive interpretation of that which defied articulation, of that which was confused and enigmatic? The arts did seem to be undergoing a kind of renewal, animated by great excitement and expectation. Perhaps it was just this art, this sculpture that still lingers in the shadows of its great past, which was called on to discover what the others were longing and groping for? Surely this art could come to the aid of an age tormented by conflicts that were almost all invisible. Its language was the body, but when had this body last been seen? It was buried under layer upon layer of clothes, renewed perpetually by the latest styles. But beneath this protective crust, the ripening soul was changing the body, even as it was working breathlessly on the human face. The body has been transformed. If we were to uncover it now; it would probably have a thousand expressions for everything nameless and new that had come into being in the meantime, for those old secrets that emerge from the unconscious like strange river gods, raising their dripping heads from the rush of blood. This body would be no less beautiful than that of antiquity. Indeed, it could only be even more beautiful. For life has held it in its hands two millennia longer, working on it, listening to it, and hammering at it day and night. Painters dreamed of this body, they adorned it with light and infused it with twilight. They approached it with tenderness and charms of every kind, they stroked it like the petal of a flower and let themselves be carried along in it like a wave. But sculpture, to which the body belonged, did not know it yet.

      Here was a task great as the world. And the man to whom it was given was unknown, his hands searching blindly for bread. He was completely alone, and if he had been a proper dreamer, he would have dreamed deeply and beautifully, he would have dreamed something no one would understand, one of those endlessly long dreams in which life passes like a day. But this young man, who was working in a factory in Sèvres, France at the time, was a dreamer whose dream got into his hands, and he began immediately with its realization. He had a sense for how to begin; a calmness within showed him the way of wisdom. His deep harmony with nature was evident already at this stage, the harmony described so well by the poet Georges Rodenbach, who calls Rodin simply a force of nature.

      In fact, Rodin was possessed of a patience so deep it almost makes him anonymous; a quiet, considered serenity reminiscent of the patience and goodness of nature, which begins with next to nothing only to traverse the long path to abundance in silent solemnity. In the same way, Rodin was not presumptuous enough to create trees. He began with the seed, underground as it were. And this seed grew downward, sinking its roots into the earth, anchoring itself before the first small shoot began to rise up. This took time and then more time. And when the few friends around him pushed and prodded, Rodin would say, “One must never hurry.”

      Then came the Franco-Prussian war and Rodin went to Brussels, where he worked on what the days brought to him. He designed some figures for private houses and several of the groups on the stock exchange building, and then he created the four large figures on the corners of the monument to Mayor Loos in the Parc d’Anvers. He carried out these commissions conscientiously, without permitting any expression of his growing individuality. His own development proceeded alongside this work, relegated to breaks and evenings, and sustained primarily in the solitary stillness of the nights. He endured this division of his energy for years. He possessed the strength of those upon whom some great work is waiting, the silent endurance of those the world needs.

      While he was working on the stock exchange in Brussels, he must have felt that there were no longer buildings which were up to bearing works of stone like the cathedrals had been, those great magnets of the sculpture of the past. Works of sculpture now stood alone, just as paintings stood alone; but unlike pictures created on easels, a sculpture did not require a wall. It didn’t even require a roof. It was simply a thing that could stand on its own, and it was good to provide it with the essence of a thing, which one could walk around and view from all sides. And yet it had to be distinguished somehow from the other things, the ordinary things, which anyone could grasp. It had to become somehow untouchable, sacrosanct, removed from the influence of chance and time, in the context of which it stands solitary and luminous, like the face of a visionary. It required a secure place of its own, selected in the most mindful way, for it must be made part of the subtle permanence of space and its great laws. It must be fit into the air that surrounds it like a niche, providing it with security and stability, and with a sublimity that comes from its simple existence, not from its significance.

      Rodin knew well that the most essential element of this work was a thorough understanding of the human body. He explored its surface, searching slowly, until a hand stretched out to meet him, and the form of this outward gesture both determined and was expressive of forces within the body. The further he went on this distant path, the more chance receded, and one law led to another. And in the end this surface became the subject of his study. It consisted of infinite encounters between things and light, and it quickly became clear that each of these encounters was different and all were remarkable. At one point the light seemed to be absorbed, at another light the things seemed to greet each other cautiously, and then again the two would pass like strangers. There were encounters that seemed endless, and others in which nothing seemed to happen, but there was never one without life and movement.

      It was then that Rodin discovered the fundamental element of his art and, as it were, the germ of his world. This was the plane – the variously large and accentuated, but always exactly determined plane – from which everything would be made. From this moment on, the plane was the material of his art, the source of all his efforts, vigilance, and passion. His art was not based on a great idea, but rather on the strength of a humble, conscientious realization, on something attainable, on ability. There was no arrogance in him. He devoted himself to this unassuming and difficult beauty, to that which he could survey, summon, and judge. The rest, the greatness, would have to come only when everything was finished, just as animals come down to drink when the night is full and there are no longer strange things in the forest.

      The Gates of Hell (detail), 1880–1917.

      Bronze.

      Musée Rodin, Paris.

      The Gates of Hell (detail), 1880–1917.

      Bronze.

      Musée Rodin, Paris.

      Rodin’s most distinctive work began with this discovery. It was only then that traditional notions of sculpture became worthless for him. There was no longer any pose, group, or composition. Now there was only an endless variety of living planes, there was only life and the means of expression he would find to take him to its source. Now it became a matter of mastering life in all its fullness. Rodin seized upon life as he saw it all around him. He observed it, cleaved to it, and laid hold of its most seemingly minor manifestations. He watched for it at moments of transition and hesitation, he overtook it in flight, and everywhere he found it equally great, equally powerful and enthralling. No part of the body was insignificant or trivial,

---

Скачать книгу