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裸體巴爾札克研究C BALZAC NUDE STUDY C
《裸體巴爾札克研究C》是羅丹第一個版本《巴爾札克》創作，並且聲明：「我習慣在開始時先創造沒有任何衣裳的大理石孩子。有了雛形後，僅需為他們加上一件衣服。它是有血有肉的。而不是冰冷的模仿」。引述羅丹：「我從不做令我煩心、想破腦袋或需要更多耐心的雕塑…」。羅丹從未想到，他的話會引起爭論。但他的話至今仍是大多人爭論的話題。 1891年當他被委任創作《巴爾札克》，1898 年完成石膏作品。第一件銅雕作品於羅丹離世後十四年，即1931年，才在比利時的安普特翻鑄。1939 年送至巴黎。羅丹貫注於傳達巴爾札克的特點。羅丹找到巴爾札克準確的三圍尺寸：腰部、胸像、腳的長度等。他有一套為他的英雄所量身訂做的衣服。並且找到巴爾札克整天穿著的一件非常合身的白色開什米褂子。他隨後搜索了巴爾札克居住的區域和雕刻了一些與巴爾札克相像的托蘭嬌家庭成員的形象，作為研究。 1892年，羅丹鑄造一座強健有力的巴爾札克裸像模型，「以搏鬥手的態度審視這個世界」，這尊《裸體巴爾札克研究C》銅像就與這種精神相關。作品中裸像雙手交叉，他並沒有在寫作，只是自己的正面形象。雙腿伸展，被圓錐體隔開，顯得十分生動。羅丹利用這個圓錐體阻擋雕像雙腿之間的光線，這樣不僅使雕塑顯得不那麼空泛，且被布簾遮住時，人們也不會知道裡面雙腿間有個圓錐體。 He created this first version of Balzac without any clothing, and stated: «Yes, I am used to creating my marble children without any clothes to begin with. (…) All that then remains is to throw a cloth over them and every fiber quivers with life. It’s flesh and blood. Not cold imitation”. To quote Rodin: “Never did a statue cause me more worry and effort, or try my patience more…” Rodin never expected that his words would cause a controversy. But they did, and it remains to this day. This work was commissioned in 1891, and the plaster was completed in 1898. The first bronze was cast fourteen years after Rodin’s death in 1931. It is in Antwerp, Belgium. The city of Paris received its cast in 1939. When he was commissioned to produce this work in 1891, Rodin became totally absorbed with Balzac and took on his character. Rodin found Balzac’s exact measurements: waist, bust, trouser length, etc. He had a suit made to the exact measurements of his hero. He also found the exact measurements of the white cashmere gown worn by Balzac all day long. He then combed the area around Tours and Saché where Balzac lived and sculpted a number of Tourangeau family members, all of whom resembled Balzac. In 1892 Rodin is known to have modeled a powerful nude of Balzac, “in the attitude of a wrestler, seeming to defy the world”, and this bronze in the collection, Nude Study of Balzac, likely is related to that description. In the nude study the arms are crossed. There is no reference in either to the activity of writing, just a direct confrontation with the image of the man himself. The spread of the legs that normally would contribute to the dynamism and action of a figure is interrupted by the conical mass between the legs, weakening them. Rodin may have included it to block out the light in the void between the legs that would have otherwise existed so that he could imagine the composition as it would be when draped.
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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