From naked sheetIn Ogjusta Rodin`s Parisian museum at an exhibition “ Images of the Eros. Erotic drawings and water colours. 1890 - 1917 “ for the first time it is presented public secret, “ obscene “ a part of an art heritage of the great sculptor. MICHAEL - TROFIMENKOV makes comments.
There are two well-known responses about Rodin - the artist. Now the French criticism often remembers words of the contemporary to which has had the luck to see its secret drawing: “ Even the monkey would redden from such shamelessness “. And Rajnera Maria Rilke`s believing the word that in Rodin`s sculpture “ the basic instinct “ it is realised into desire, and lust - in an inclination of the person to the person: “ the Woman any more animal, suppressed or obedient “. Rodin`s secret that both these mutually exclusive opinions are absolutely fair.
hundred forty five exhibited works - a drop in the sea. Ogjust Rodin (1840 - 1917) though was fond of a drawing very much late, in the middle of 1890 - h years, has had time to create 9 thousand graphic works, from which 7 thousand are stored in the Parisian museum. In view of feverishly - sexual character of many of them, it is possible to suspect, what exactly the passion which has captured Rodin has prevented it to finish business of the life - sculptural “ a hell Gate “. And it was the passion: passion of the artist and passion of the man about which temperament legends went. Isadora Duncan posing for him remembered with almost sacred trembling: “ It has started to rumple my body as clay, and from his mouth breath which burnt me escaped and did absolutely softened “.
that many great modernisty created “ as a hobby “ works which at their life never could be exposed on the reason “ pornografichnosti “ for a long time not a secret. In a museum of Orse on a place of honour the picture of Gjustava Kurbe " is set up; a world Source “ majestic “ a portrait “ female lobka. Frivolous works of Egona Shile, Gjustava Klimta, Pablo Picasso are published. Even it is strange that Rodin`s drawing of a hand at critics have reached just now. However, it erotizm considerably differs from complacent brutalnosti Picasso or lazy weariness of Shile. The management of the French railways has refused flatly to place in territory accountable to it exhibition advertising, and in the museum already three announcements warn spectators about possible shock.
from the plastic point of view of shock is not present and cannot be. Rodin`s drawing ideally fills a certain lacuna in the history of the French art. Rises in one number with the analysis of a female plasticity in which contemporaries - Edgar Degas and Anri de Toulouse - Lotrek were engaged. As Degas, it took models unawares, almost in film foreshortenings, buried a conditional plasticity of the academic art. As Lotrek, reaching almost grotesque, rejected an existing image of the woman, both romantic, and hypocritical. Degas drew ballerinas, Toulouse - Lotrek lived in a behind the scenes of cabaret and brothels. Rodin worked for itself in a workshop, it was posed by the professional dancers, the most known - Alda Moreno from “ the Opera the comedian “. Rodin drew, as moulded statues: without looking at a paper, blindly, keeping the eyes glued on women who wandered on studio, lifted up skirts, undressed, caressed each other, accepted at times absolutely acrobatic poses. Then threw over pencil lines of a stain of a yellow, pink, green paint, accenting them that a head of hear, a bosom. Really brilliant drawing: as in a sculpture, all is cut superfluous, the formula of a female body is created.
But if to judge it from the point of view of political correctness reaction, say, feminists will differ hardly from reaction of the bourgeois of the end of a XIX-th century. Sometimes Rodin gave to the drawings of the name, but in this sphere its imagination remains at level parkway demonizma. “ the Satan “ “ the Storm “ (the woman does the bridge), “ Rough despotism “ (one thickset model has saddled another). But the majority of them are named chilly, almost bjurokraticheski: “ Lying a nu with the lifted and moved apart feet “. Persons do not interest at all the artist. On a paper the open bosom, it - the centre of gravity of any drawing undividedly reigns. Duchess Malboro, having visited Rodin`s workshop, has exclaimed, meaning sculptural “ the Hand of the Creator “ over which the artist worked hard: “ There everywhere continuous hands! “ It is interesting that she if has seen the drawing exhibited at Paris would tell.