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Touch. Feel. The sense of touch is ready: make it play its role: imagine.

Rodin’s sculptures are not just marble. They are flesh, substance and emotion.

The vision of one of Rodin’s works is a harmonic composition among touch, sight and interior emotions.


Auguste Rodin lives and works during the second half of the 1800s, in between Paris, his hometown, and some other Italian and Flemish cities-Brussels in particular. He opens the doors to the sculpture of the twentieth century and he is globally known as the best French sculptor of his era. He draws, invents and creates since he is young. Since his adolescence he is an autodidact and spends hours and hours at the Louvre Museum so to grasp some inspiration from the models kept there. He travels to Italy where he fulfills his biggest dream: meeting Michelangelo.

Auguste is a man of great culture: he reads, he travels and he is capable of learning. He worships Homer, Virgil and Dante: great men who inspire him when “assembling” his works.

He’s obsessed by drawings: when you observe one of his works it is impossible not to catch the anthology of the countless sketches that anticipated the realization of the sculpture; be quiet: observe. Do you feel it? It is unimaginable not to hear the strong drift of his hand, of the pencil, which tip is always reactive when staining the immaculate paper just like a seismograph.

Rodin scoops out shapes with a sonorous, thunderous and spurious innovation; his masterpieces are the result of a long-lasting research that comes into being through an arrangement that is made up of various steps: every single part is individually modeled and then all of the distinct parts are assembled in a unique composition.

No more perfect Canova grace: now, only feel the dramatic authenticity. Rodin himself stated that his research is “not the harmony of truth but the representation of how truth appears before us”. He creates harmonious imbalances, by assembling small parts, so to create, at the end, a complex and, at the same time, dynamic work.


He went from being a dependent-author to a well-known and almost official artist, when in 1880 he was assigned with the Gates of Hell, for the entrance of the museum of decorative arts in Paris. He spends forty years trying to give shape and substance to Dante’s Divine Comedy, making the vigorous words of the great poet flow through him. An army of figures generates form the sculptor’s divine hands, so that he’s not capable of remaining into the limits of the door’s frame: Rodin tries to create the same chaos that he perceives in Dante’s infernal description.

By observing the sculptures of couples, you can feel the pouring of vital lymph, of sensuality and even of a daring eroticism for the time, in the materialized bodies. The eternal Eros carries the figures of lovers away, just like Piero and Francesca in the infernal vortex.

The same vortex that will overwhelm you, if you are ready to catch the pulsing senses.


You are so involved and “simpatico” with the rodinian sculptures that you’d want to touch them, caress them so to catch just a little of the ineluctable love relationship that involves the characters that seem pure, alive flesh.


The climax of Rodin’s talent is in ‘The Thinker’. It looks as if the fertile thought leaks from the matter, crossing his whole body: from his mind straight to his fist, leaned on his teeth, and then down to his tensioned feet that flex over the rock on which this man is crouched. What you are looking at is a creator not a dreamer. I could dare saying that Rodin’s ‘The Thinker’ could be seen as God’s metaphor, on his seventh day, admiring his Creation, meditating on it.


Rodin is not an artist but a worker with the only desire of totally penetrating the humble and severe essence of his tool: carving.

Auguste’s genius is not only in the lame creation of a sculpture but also in the awareness of having created himself as a man and as the recipient of the emotional power of the senses. Thanks to Rodin, that same recipient can be you.

Go visit the “Rodin, il Marmo, la Vita” exhibition, that hosts sixty of his masterpieces in Milan, thanks to the collaboration of the Palazzo Reale with the Musee Rodin in Paris and the Galleria Nazionale d’Arte Moderna di Roma.

From the 17/10/2013 to the 26/01/2014

Palazzo Reale, Piazza del Duomo, 12 Milano

Hours: Monday 14.30-19.30; from Tuesday to Sunday 9.30-19.30; Thursday and Saturday: 9.30-22.30 (the ticket office closes an hour before)

Info line: 02 92800375 (from Monday until Saturday, 8-1830)

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