Exhibition of the week: The Making of Rodin

For all its strengths, the show is let down by a needlessly ‘censorious’ attitude towards its subject

Auguste Rodin - The Burghers of Calais
The Burghers of Calais (1889): unforgettable

In 1899, Auguste Rodin mounted a “decidedly unconventional” exhibition in Paris, said Rachel Campbell-Johnston in The Times. Rodin (1840-1917) took the decision to show his works in plaster, a material hitherto considered only as a “transitional” part of the process by which a sculpture progressed from the drawing board to its finished state in bronze or marble. The artist aimed both to “emphasise the fundamental role” that plaster played in the development of his “audacious modern vision”, and to “mythologise himself as a solitary genius”; because unlike bronze cast, a work in plaster would bear the imprint of his hand. The resulting show was “a muddle of figures and fragments and maquettes”, evoking the atmosphere of the artist’s studio. It would, the curators of a new exhibition at Tate Modern argue, set the pace for sculpture in the 20th century.

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