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"Rilke's observations are wonderfully astute. For readers interested in either [sculpture or poetry], this volume is a treat." — The Christian Science Monitor
During the early 1900s, the great German poet lived and worked in Paris with Auguste Rodin. In a work as revealing of its author as it is of his famous subject, Rainer Maria Rilke examines Rodin's life and work, and explains the often elusive connection between the creative forces that drive timeless literature and great art.
Rilke served for several years as Rodin's secretary — living in the sculptor's workshops, watching the shaping of his creations, and discussing his views and ideas. Written in 1903 and 1907, these essays about the master's work and development as an artist mark Rilke's entry into the world of letters. Rodin himself paid the poet the ultimate tribute, declaring these meditations the supreme interpretation of his work. This excellent translation, complemented by 33 illustrations, will fascinate students of literature, philosophy, and art history.
- Sales Rank: #855092 in eBooks
- Published on: 2012-09-06
- Released on: 2012-09-06
- Format: Kindle eBook
Review
Combining Daniel Slagers's elegant translation from the German of Rilke's writings on Rodin with Michael Eastman's photographs of Rodin's sculptures, Auguste Rodin offers a fresh look at an unlikely mentorship. —The New York Times Book Review
Brilliant and subtle but richly colored new photographs of Rodin's sculptures by Michael Eastman make this new translation of Rilke's classic meditation on Auguste Rodin a feast for the eye and mind. National Book Critics Circle Award winner Wiliam Gass examines the text and the setting to provide insight and context. Fine writing, beautiful images, and exciting ideas make this edition of Rilke's Auguste Rodin a real treat. —R.K. Dickson
Poets and the visual arts—it is a vast subject; and all through the twentieth century artists and writers collaborated almost constantly, sometimes with such intensity that it seemed as if they were passing back and forth a single flask labeled 'Inspiration.' Few poets have written more eloquently about the visual arts than Rilke, and one of the most beautiful books of the year is his Auguste Rodin (Archipelago Books, $30), translated by Daniel Slager, with photographs by Michael Eastman, which bring us close to the charged surfaces of Rodin's bronzes, and catch their storm-tossed intensity. Rodin was at times a disturbingly bombastic artist—while his Gates of Hell may be the work of a genius, it is also pure kitsch—but in the years just after 1900, when Rilke got to know him, the avant-garde was still inclined to embrace Rodin as a rough-hewn visionary, a man in whose studio, as Rilke wrote, 'everything was becoming, but nothing was in a hurry.' For Rilke, both Rodin and Cézanne suggested, through the very physicality of their labors, a route beyond fin-de-siècle preciosity. Rilke discovered in Rodin a man who was utterly committed to the materiality of the artistic vocation. Rodin taught Rilke to make his feelings concrete. —Ruth Franklin
From the Publisher
· Over 100 drawings and cutouts
· Rodin shows the female nude form in its beauty and simplicity
· Wonderful collection of Rodin’s late work
About the Author
Daniel Slager is an editor at Harcourt, a contributing editor to Grand Street, and a widely published translator from German.
William Gass (The Tunnel, Omensetter¢s Luck, and Reading Rilke) received the National Book Critics Circle Award for Criticism, a Lannan Lifetime Achievement award, the Pen-Nabokov Prize, and a gold medal for fiction from the American Academy of Arts and Letters.
Michael Eastman has received a National Endowment for the Arts grant and has been published in The New York Times, Life, American Photographer, and Communication Arts.
Most helpful customer reviews
4 of 5 people found the following review helpful.
One Master on Another
By Allan Cox
Here is a book I came across recently that is a magnificent weaving of Rodin, the sculptor generally recognized as second only to Michelangelo and Rilke, the poet, who, to many knowing minds, is the poet without peer. Rodin the subject, Rilke the observer, whose prose here remains poetic, were bound by the work as the young poet served as the master's secretary. They were bound in heart as well, though Rodin, in a misunderstanding, fired Rilke. Rilke brings Rodin, nonetheless, to us so that we see his astounding modesty, despite his prodigious gifts, and his grasp of the likelihood his renderings would remain homeless--their greatness not known until after his death. With this, he was unmoved, and in his work, unquenched in spirit, passing along his bounty of heart to his students. The book will sit well on your coffee table, smaller than most such selections, but its 88 pages of exquisite prose and photographic samples of the man's acute sensibilities, are sure to prompt worthy explorations among your guests.
Allan Cox, author of "WHOA! Are They Glad You're In Their Lives?" to be published June 5, 2012
4 of 5 people found the following review helpful.
The full color reproductions are superbly presented
By Midwest Book Review
Images Of Desire: Erotic Watercolors And Cut-Outs showcases the erotic watercolor illustrations and cut-out artwork by Auguste Rodin, the famed French artist most commonly known through his sculptures. A brief introduction by Anne-Marie Bonnet adds pensive thought on these minimalist, somewhat abstract yet undeniably sensual and sexual artworks celebrating pleasure and love. Intense imagery evokes passion out of the simplest lines. The full color reproductions are superbly presented and make Images Of Desire a welcome and highly recommended addition to personal, academic, and community library Art History and Art Appreciation reference collections.
1 of 1 people found the following review helpful.
"Rodin's fate was to work like nature works, not like men."
By Michael J. Ettner
[Please note: The review below applies only to the book entitled "Auguste Rodin," published by Archipelago Books and copyrighted 2004, found at this Amazon link: Auguste Rodin.]
This Archipelago Books volume on Rodin was smartly conceived by its small press publisher. It is nearly square in size to accommodate long-lined text printed on quality paper. Sturdily bound in a partial cloth binding, overall it has the look and feel of a quality gift book, and one features sophisticated content. If the editor's plan was to see what happens when you assemble in one package the work of three powerful communicators -- a titanic sculptor who ushered in new forms, a poet striving to understand and explicate the invisible, and a living master essayist on literary matters -- that plan succeeds with sparkling insights.
The book opens with an Introduction by William Gass, a long-time Rilke maven and an unsparing arbiter of cultural subjects. Gass stylishly fulfills his setting-the-stage duty. Using multiple perspectives (historical, aesthetic, biographical, psychological) he helps the reader understand why the young poet developed an awed appreciation for Rodin (the man and his work). We learn how Rilke absorbed the sculptor's personal and aesthetic credo ("il faut travailler, rien de travailler") with lasting effect on his mature poetic output.
All that Rilke learned from Rodin he expressed to the world in two significant pieces which make up the bulk of this book: an essay written at the very start of his personal association with the elder artist in 1903; and a public lecture written at the end of their relationship in 1907. Daniel Slager provides fine new translations from the German of both of these texts. Also found tucked within the pages of this book are four groups of eight glossy color photographs by Michael Eastman: a total of 32 close-up images of major pieces by Rodin that Rilke (and Gass) discuss.
The book contains 88 pages of text; this modest nominal count is misleading since in fact the material is the equivalent of about 150 pages in a standard-sized book. As a reading experience the book feels large thanks to the breadth of Professor Gass' encyclopedic observations, paragraph after paragraph, and thanks to the seemingly unstoppable eruption of Rilke's insights, sentence after sentence. Rilke reconnoiters the mountain of Rodin, tossing off witticisms ("Fame is no more than the sum of all the misunderstandings that gather around a new name"), evocative imagery (on The Burgher of Calais: "The figures withdraw within themselves, curling up like burning paper"), and grand judgments ("The artist's task consists of making a world from the smallest part of a thing"). There are extended passages, describing pieces of art and art making, in which Rilke's prose itself achieves a mountainous beauty.
True, the pieces that make up this assemblage are available elsewhere: Rilke's essays are available in other volumes, for example, in Where Silence Reigns: Selected Prose (New Directions Paperbook), while Gass's Introduction is reprinted in his book of essays, A Temple of Texts, and there are many other illustrated art books devoted to Rodin's work. But as a package, I consider this particular book to be a fine and rewarding enterprise.
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