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皮埃爾‧維桑 Pierre De Wiessant
1347年加萊市(Calais)被英國所包圍，圍城長達一年。 愛德華三世(Edward III)厭倦了長期血腥的包圍，威脅夷平這個城市和屠殺裡面的居民。若不要遭受到這種命運，必須交出六位傑出的公民作為俘擄，並且交出城市之鑰。俘虜們被要求穿著內衣、赤腳、光頭，頸繞繩索。國王下令他們丟棄城市之鑰並做準備。勇敢的公民走向國王陣營，認為；這是他們剩下的幾步路，但最後他們卻被赦免了。羅丹深受這個故事所打動，決定創作六個人為一組的作品。他開始研究這個歷史事件，為了將其更融入藝術創作，他決定刻畫六人走向愛德華三世的第一步，那偉大的一刻。 1884年加萊市長德瓦翎 (M. Dewavrin)要求羅丹紀念這歷史事件，委託他創作一個紀念碑。這歷史上六位英雄，皮埃爾‧維桑(Pierre De Wiessant)便是其中一位，其他五位的名字分別是厄斯塔什‧德聖皮耶(Eustached de Saint Pierre)、尚‧德爾(Jean d’Airem)、傑克‧維桑(Jacques de Wiessant)、尚‧德菲安納(Jean de Frennes) 和安德里厄‧安德烈(Andrieu Andrès)。 羅丹塑造了許多皮埃爾‧維桑的研究。他試用了許多不同的模特兒來探索各種各樣的體型和姿勢。最後定稿的《皮埃爾‧維桑》，低頭看著肩膀，並伸出絕望的手。極大的痛苦表現在臉上，痛苦的接受不可避免的事實。
In 1347, Calais was under siege by the English. Edward III, exhausted by the long and bloody siege, threatened to raze the city to the ground and slaughter all of its inhabitants. The only way for the city to avoid this fate was for its six leading citizens to surrender themselves and the keys of the city, to the occupier. They were required to present themselves in their undershirts, bare-footed and bare-headed, with ropes around their necks. The king ordered them to relinquish the keys to the city and to prepare themselves for execution. The brave citizens walked towards the king's camp, thinking that they were taking their last steps, but in the end their lives were spared. Rodin was greatly moved by the power of the story and offered to depict all six men for a modest sum. He began by studying the history surrounding the event as well as other artistic depictions of the burghers. He decided to show all six men taking their first steps toward the camp of Edward III. In 1884, the Mayor of Calais, M. Dewavrin, asked Rodin to commemorate this historic event. The six heroes, Pierre de Wiessant, is one of them, and others: Eustache de Saint Pierre, Jean d’Aire, Jacques de Wiessant, Jean de Frennes and Andrieu Andrès. Rodin created many full-figure studies of Pierre de Wiessant. He experimented with different models to explore various body types and poses. The figure in the final monument portrays Pierre de Wiessant looking over his shoulder, his hand extended as if in despair. His face shows great anguish, and his intense emotions make him appear withdrawn from the other figures. It differs greatly from the first maquette, which shows Pierre de Wiessant staring outwards with his hand pointing to himself, perhaps questioning his impending fate. No longer questioning, the young burgher now seems to look inward, as if he is painfully beginning to accept the inevitable.
RODIN IN TAICHUNG 羅丹雕塑展 地獄門VS.愛
2007.9.22-12.22 臺中市役所
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