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9783937572345: Rodin - Beuys

Sinopsis

Next to Wilhelm Lehmbruck, Auguste Rodin was among the sculptors that Joseph Beuys, up to his death in 1986, most highly prized. Beuys became aware of the great sculptor as early as 1950 when he read the monograph by Rainer Maria Rilke on Rodin's work, which provided him with crucial aesthetic impulses. Beuys' early drawings show thematic and conceptual connections to Rodin's watercolors and drawings. For instance, both artists refer back to ancient mythology, e.g., in their female figures, which they paint on paper in coats of glaze. But also the lines of tradition that Auguste Rodin passed on by way of Wilhelm Lehmbruck were taken up by Beuys, such as his interest in the artistic possibilities of the torso.
The complex relation to the work of Auguste Rodin can be followed in the book's comprehensive section showing works by Rodin, Lehmbruck and Beuys.

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Reseña del editor

Next to Wilhelm Lehmbruck, Auguste Rodin was among the sculptors that Joseph Beuys, up to his death in 1986, most highly prized. Beuys became aware of the great sculptor as early as 1950 when he read the monograph by Rainer Maria Rilke on Rodin's work, which provided him with crucial aesthetic impulses. Beuys' early drawings show thematic and conceptual connections to Rodin's watercolors and drawings. For instance, both artists refer back to ancient mythology, e.g., in their female figures, which they paint on paper in coats of glaze. But also the lines of tradition that Auguste Rodin passed on by way of Wilhelm Lehmbruck were taken up by Beuys, such as his interest in the artistic possibilities of the torso.
The complex relation to the work of Auguste Rodin can be followed in the book's comprehensive section showing works by Rodin, Lehmbruck and Beuys.

Reseña del editor

Between 1947 and 1964 Joseph Beuys produced a swath of works on paper that, in their style, technique, and formal vocabulary, echo those of Auguste Rodin by way of his teacher and mentor, sculptor, Wilhelm Lehmbruck. Although Beuys's work remains very different from his predecessors', it does take up themes they had pursued, including the idea of the torso as an autonomous, enclosed form and of the fragment as the simplest and most elementary embodiment of immutability. This book sets Beuys's works on paper and sculptures opposite the works on paper and sculptures of Rodin and Lehmbruck, and finds both striking affinities and autonomy.

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