RODIN, r6-daft, (Francois) Auguste, eminent French sculptor : b. Paris, Novem ber 1840; d. 17 Nov. 1917. After working in a subordinate position in several studios he exhibited for the first time in the Salon in 1875, and since then became well known as a sculptor utterly beyond the control of classical convention, and reveling in the first expression of emotion and action, yet showing a power of execution worthy of the best Renaissance art. One of his first productions was 'The Broken Nose,' which invited much discussion. In 1870, during the siege of Paris, he served in the national guard. He has done some re markable work, as for instance 'The Brazen Age,' exhibited as a cast, and after much dis cussion executed in bronze for the Luxem bourg Gardens. Among other rugged and fan taitic Creations are of Calais); 'The Kin.' He has made busts of Victor Hugo, Henri Rochefort and Jules Daloux, the sculptor. 'The Hand of 'The Bather,) a bust of 'Saint John,' and 18 tninor works, are in the Metropolitan Museum! df New York. Originals or copies of his works• are to be found in all the great sculpture col.. lections of the globe. Rodin was distinctly an impressionist,. seeking to convey a psPchoWi-t - - cal meaning to the beholder. He was not satis fied to reproduce a figure; he felt it necessary to present an idea with every piece of carving. He not only conquered the prejudice of con vention, which demanded only the beautiful and graceful, according to accepted types, but he set a new standard of modern expression, em phasizing the strength and character even of ugliness, and showing the possibility of em phasizing an idea in stone by exaggeration, as is done by the most expert cartoonist. It was not humor, however, that he strove to dis play, but rather the grand human emotions.
The breadth of Rodin's character is illustrated by his indifference to hostile criticism. No other sculptor of modern times has received so much criticism, nor succeeded in overcom ing all criticism. His plaster sketch of Balzac, in a voluminous dressing gown, was declared absurd by the committee of the Society of Men of Letters, and they refused to accept it, giving the order to Falguiere. In the salon where his successful opponent exhibited his Balzac, Rodin entered a bronze bust of Fal guiere, showing that he was above all petty jealousy. Time has shown that he could afford to be, and many devotees of art now declare that he never had a peer. This is doubtless over-enthusiasm. Rodin was a great inspired sculptor, ranking with three or four of the world's best, and he has given birth to a new school. He has been showered with honors, college degrees, official positions in art socie ties, and was chosen president of the Inter national Society of Sculptors, Painters and En gravers, succeeding Whistler in 1904. At the 1900 Exposition in Paris an entire building was given up to the display of Rodin's works. In addition to his marble and bronze figures were many water-color drawings and etchings. Further illustrating the versatility of his genius are a number of writings on various subjects, of which the most notable is (Les cathedrales de France' (1914). Consult Marx, 'Auguste Rodin, Ceramiste' (Paris 1907) ; Lawton, F., 'Life and Work of Auguste Rodin' (New York 1907); Dirks, R., 'Auguste Rodin' (Paris 1913) ; Bulletin, Metropolitan Museum of Art, Supplement (New York, May 1912) ; Harris, F., (Contemporary Portraits' (New York 1915).