Auguste Rodin (1840-1917)
Auguste Rodin (1840-1917)

Le penseur

Details
Auguste Rodin (1840-1917)
Le penseur
signed 'A. Rodin' (on the top of the base) and inscribed with foundry mark 'Alexis.Rudier.Fondeur.Paris' (on the back of the base); with raised signature 'A.Rodin' (on the underside)
bronze with brown and green patina
Height: 14¾ in. (37.5 cm.)
Conceived circa 1880; this bronze version cast in the 1920s or 1930s
Provenance
Anon. (acquired by the family before 1970); sale, Christie's, London, 25 June 2003, lot 106.
Acquired at the above sale by the present owner.
Literature
G. Grappe, Catalogue du Musée Rodin, Paris, 1927, no. 143 (plaster version illustrated).
H. Martinie, Auguste Rodin, Paris, 1949, no. 19 (another cast illustrated).
A.E. Elsen, Rodin, New York, 1963, pl. 52-3 (another version illustrated).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, no. 11 (another version illustrated).
J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 111-112, 114 and 116 (another cast illustrated, fig. 60, p. 71).
J. de Caso and P.B. Sanders, Rodin's Sculpture, A Critical Study of the Spreckels Collection, San Francisco, 1977, pp. 128-131 (another cast illustrated).
A.E. Elsen, ed., Rodin Rediscovered, Washington, 1981, pp. 66-67 (another cast illustrated).
A.E. Elsen, The Gates of Hell by Auguste Rodin, California, 1985, pp. 71 and 73-74 (another cast illustrated).
A.E. Elsen, Rodin's Thinker and the Dilemmas of Modern Public Sculpture, New Haven, 1985.
C. Lampert, Rodin: Sculpture and Drawings, London, 1986, p. 24 (another version illustrated, p. 25).
A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University, New York, 2003, pp. 174-179, no. 38 (another cast illustrated, pp. 174-175, 178).
Sale room notice
Jérôme Le Blay will include this sculpture in his forthcoming Catalogue Critique des sculptures d'Auguste Rodin being prepared in association with Galerie Brame & Lorenceau under the archive number 2003V271B.

Please note that this lot is not being sold on behalf of the University of California, Berkeley Art Museum, Thérèse Bonney Bequest.

Lot Essay

Le penseur was conceived circa 1880 for the center of the tympanum of Rodin's La porte de l'Enfer. Rodin later explained the genesis of his project: "The Thinker has a story. In the days long gone by, I conceived the idea of the Gates of Hell. Before the door, seated on a rock, Dante, thinking of the plan of his poem. Behind him, Ugolino, Francesca, Paolo, all the characters of the Divine Comedy. This project was not realized. Thin, ascetic, Dante separated from the whole naked man, seated upon a rock, his feet drawn under him, his fist at his teeth, he dreams. The fertile thought slowly elaborates iteself in the brain. He is no longer dreamer, he is creator" (quoted in A.E. Elsen, op. cit., 1963, p. 53).

Rodin expressed his own thoughts directly in a plastic medium and thus it is no suprise that he aimed to combine within Le penseur the attributes of both physical and mental acumen. This monumental figure, possibly his most celebrated work, was discussed by the sculptor shortly before his death, where he stressed the physicality and the vitality and power of the creative mind: "Nature gives me my model life and thought; the nostrils breathe, the heart beats, the lungs inhale ...the being thinks and feels...What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, with his distended nostrils and compressed lips, but with every muscle of his arms, back and legs, with his clenched fist and gripping toes" (quoted in Saturday Night, Toronto, December 1917).

Le penseur belongs to the group of major early works inspired by Michelangelo, whose sculpture had greatly impressed Rodin during his visit to Italy in 1875. Rodin considered Le penseur to be valid as an independent work and exhibited it on its own in Copenhagen in 1888.

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