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The Falling Man (Rodin)

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at the bottom of the Gates. Judging by the position of the first figure, some authors have suggested that Rodin suspected his commission would be canceled because the arched position of the man would make difficult, if not impossible, to open and close the doors, hindering its function.
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that Rodin may have pondered the tyranny of gravity over sculpture, leading to a self-interrogatory, What if I change the orientation of a well-made figure without adjusting anatomy in its new relation to
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Meditating on how a figure in sculpture was expected to adhere to the pull of the earth, Rodin came to ask, What if the figures could be as free of gravity in sculpture as they are in painting? (...)
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58.8 cm × 39.9 cm × 31.2 cm (14.9 in × 10.1 in × 7.9 in)
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This figure represents the cumulative human forces, cast upon the eternal emptiness of Hell. In
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Elsen, Albert Edward; Jamison, Rosalyn Frankel (2002–2003). Bernard Barryte (ed.).
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Rodin's Art: the Iris & B. Gerald Cantor Collection at Stanford University
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Even though this figure appears in different directions in
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modeled in 1882 and is part of Rodin's emblematic group
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movement, which favors expression over verisimilitude.
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Index


Auguste Rodin
Museo Soumaya
French
French
Auguste Rodin
The Gates of Hell
pilaster
Crouching Woman
I am beautiful
Avarice
modernist
Side view
Front view
List of sculptures by Auguste Rodin
Metropolitan Museum of Art
"Auguste Rodin | The falling man"
Cuando se congele el infierno
ISBN
9788415279198
Musée Rodin
"I Am Beautiful"
ISBN
978607780518-2


Rodin's Art: the Iris & B. Gerald Cantor Collection at Stanford University
248
ISBN
0195133811

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