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出门在外也不愁From Wikipedia, the free encyclopedia
This article is about the Rodin sculpture.
For other uses, see .
The Gates of Hell, The Kunsthaus Zürich, Zurich.
The Gates of Hell (: La Porte de l'Enfer) is a monumental sculptural group work by French artist
that depicts a scene from "The Inferno", the first section of 's . It stands at 6 metres high, 4 metres wide and 1 metre deep (19.7×13.1×3.3 ft) and contains 180 figures. The figures range from 15 centimetres (6 in) high up to more than one metre (3 ft). Several of the figures were also cast independently by Rodin.
The Gates of Hell - .
The sculpture was commissioned by the Directorate of Fine Arts in 1880 and was meant to be delivered in 1885. Rodin would continue to work on and off on this project for 37 years, until his death in 1917.
The Directorate asked for an inviting entrance to a planned Decorative Arts Museum with the theme being left to Rodin's selection. Even before this commission, Rodin had developed sketches of some of Dante's characters based on his admiration of 's .[]
The Decorative Arts Museum was never built. Rodin worked on this project on the ground floor of the H?tel Biron. Near the end of his life, Rodin donated sculptures, drawings and reproduction rights to the French government. In 1919, two years after his death, The H?tel Biron became the Musée Rodin housing a cast of The Gates of Hell and related works.
A work of the scope of The Gates of Hell had not been attempted before, but inspiration came from 's
at the , ; the 15th century bronze doors depict figures from the . Another source of inspiration was some of those combine both high and low relief. Rodin was also inspired by Michelangelo's fresco , Delacroix's painting , Balzac's collection
and Baudelaire's poems .[]
In an article by Serge Basset printed in Le Matin in 1890, Rodin said: "For a whole year I lived with Dante, with him alone, drawing the circles of his inferno. At the end of this year, I realized that while my drawing rendered my vision of Dante, they had become too remote from reality. So I started all over again, working from nature, with my models."[]
The Thinker in the Gates at the Musée Rodin
Detail, upper left-hand door
The original sculptures were enlarged and became works of art of their own.
(Le Penseur), also called The Poet, is located above the door panels. One interpretation suggests that it might represent Dante looking down to the characters in the Inferno. Another interpretation is that the Thinker is Rodin himself meditating about his composition. Others believe that the figure may be Adam, contemplating the destruction brought upon mankind because of his sin.
(Le Baiser) was originally in The Gate along with other figures of Paolo and . Rodin wanted to represent their initial joy as well as their final damnation. He removed the figure that became known as
because it seemed to conflict with the other suffering figures.
Ugolino and His Children (Ugolin et ses enfants) depicts , who according to the story, ate the corpses of his children after they died by starvation (Dante, , Canto XXXIII). The Ugolino group was cast as a separate bronze in 1882.
The Three Shades (Les Trois Ombres) was originally 98 cm high. The over-life size group was initially made of three independent figures in 1899. Later on, Rodin replaced one hand in the figures to fuse them together, in the same form as the smaller version. The figures originally pointed to the phrase "Lasciate ogne speranza, voi ch'intrate" ("Abandon all hope, ye who enter here") from Canto III of the .
Fleeting Love (Fugit Amor) is located on the right door pane, it is one of several figures of lovers that represent Paolo and . The male figure is also called The Prodigal.
is shown on the left door pane. Paolo tries to reach Francesca, who seems to slip away.
appears on the rightmost part of the , shown as an enlarged figure in 1896.
The Old Courtesan is a bronze cast from 1910 of an aged, naked female body. The sculpture is also called She Who Was Once the Helmet-Maker's Beautiful Wife (Celle qui fut la belle heaulmière). This title is taken from a poem by .
I Am Beautiful (Je suis belle), cast in 1882, is among the second set of figures on the extreme right portion of the door.
Eternal Springtime (L'?ternel printemps) was cast in 1884. It exists in several separate versions, both in marble and in bronze.
Adam and Eve. Rodin asked the directorate for additional funds for the independent sculptures of Adam and Eve that were meant to frame The Gates of Hell. However, Rodin found he could not get Eve's figure right. Consequently, several figures of Eve were made, none of which were used, and all of them were later sold.
The plaster original was restored in 1917 and is displayed at the
in . A series of plaster casts illustrating the development of the work is on view at the
in . Also in 1917, a model was used to make the original three bronze casts:
Subsequent bronzes have been distributed by the Musée Rodin to a number of locations, including:
Le Normand-Romain, Antoinette (1999). Rodin:The Gates of Hell. Paris: .  .
. Musée Rodin 2012.
. The National Museum of Western Art 2012.
Chevillot, C Marraud, Hélè Pinet, Hélè
(transl.) (November 2014). Rodin: The Laboratory of Creation. Dijon: ?ditions Faton.  .
Le Normand-Romain, Antoinette (September 2014). Rodin. New York: Abbeville.  .
Wikimedia Commons has media related to .
, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on The Gates of Hell
at , Object Number 1985.86, bronze cast No. 5.
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