- 1I
- 2II
- 3The Man and His Art
- 4Childhood. Youth. First Studies
- 5Rodin and the Beaux-Arts
- 6Sojourn in Belgium — “The Man Who Awakens to Nature” — Realism and…
- 7Flemish Painting — Journeys in Italy and France
- 8Rodin’s Note-Book — Introductions by Judith Cladel — I — Ancient Wo…
- 9Construction and Modeling
- 10The Traditional Laws of Ancient Art
- 11II — Scattered Thoughts on Flowers
- 12III — Portraits of Women
- 13IV — An Artist’s Day
- 14A Morning in the Garden
- 15An Antique Fragment
- 16An Evening in the Garden
- 17V — The Line and the Structure of the Gothic
- 18The Gothic Builders Are Realists
- 19Plans and Oppositions
- 20The Science of Equilibrium
- 21The Lacework of Stone
- 22The Nave
- 23The Molding
- 24VI — Art and Nature
- 25The Antique — The Greeks
- 26The Richness of the Antique Lies in Modeling
- 27Ronde-Bosse and Chiaroscuro
- 28Rome and Roman Art
- 29For America
- 30VII — The Gothic Genius
- 31Saint-Eustache
- 32Concerning Color in Sculpture
- 33The Eighteenth Century
- 34The Work of Rodin — I — The Study of the Cathedrals — Influence of…
- 35“The Gate of Hell”
- 36II — “The Burghers of Calais” (1889) — Rodin and Victor Hugo — The…
- 37The Exposition of 1900 — The Bas-Reliefs of Evian — Rodin and the War
Rodin: The Man and His Art
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