By: Rainer Maria Rilke (1875-1926) Rodin has pronounced Rilke's essay the supreme interpretation of his work. (From the translators’ Preface) Auguste Rodin, 1840-1917, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past.

Rilke und Rodin. Eine Gedichtinterpretation des "Archaischen Torso Apollos" von Rainer Maria Rilke - Germanistik - Essay 2017 - ebook 0,99 € - Hausarbeiten.de

And his mouth has a speech whose ring is good, intimate, and full of youth. Rilke’s essay on Rodin and his work remains one of the best accounts of the sculptor’s working process and is among the most penetrating interpretations of his art. I recently sat down with Anne-Lise Desmas, senior curator of sculpture and decorative arts at the Getty Museum, to discuss Rodin’s work and Rilke’s essay. Rodin has pronounced Rilke's essay the supreme interpretation of his work. (From the translators’ Preface) Auguste Rodin, 1840-1917, was a French sculptor.

Rilke's commentary on Rodin's art and reflections on the artist at work. During the early 1900s Rilke, the poet and author of the well-known "Letters to a Young Poet," lived and worked in Paris as Rodin's secretary, often inhabiting his workshops and watching some of the sculptor's best known works come into being. In 1902, Austrian poet Rainer Maria Rilke visited sculptor August Rodin in Paris to write an essay on the artist for a new series of German monographs. Writing with his usual intensity, Rilke’s poetic language and passion for Rodin’s art make this an engaging account of the artist’s life and work. Rilke selbst schreibt seiner Frau Clara Rilke-Westhoff begeistert von seiner Arbeit mit dem großen Rodin. Die Zusammenarbeit mit seinem Idol lässt ihn erkennen, dass Vollständigkeit eines Kunstwerks nicht unbedingt Vervollkommnung bedeutet: „Und doch, je näher man zusieht, desto tiefer fühlt man, daß alles das weniger ganz wäre, wenn die einzelnen Körper ganz wären“.

Rainer Maria Rilke's strategy is quite different. Again, in the "Archaic Torso of Apollo," Rilke sheds light on his poetic experience via an external entity. I believe at the time this poem was written, Rilke was working for the legendary sculptor Rodin. ", I feel Rilke is talking of …

Rilke himself was conscious of this, writing to Lou Andreas-Salomé that the book “also speaks about me.” Rainer Maria Rilke, född René Karl Wilhelm Johann Josef Maria Rilke den 4 december 1875 i Prag, död 29 december 1926 på Valmont-sanatoriet i Montreux, Schweiz, var en tyskspråkig lyriker som betraktas som en av det tyska språkets främsta poeter. Rilke and Rodin, it turns out, cared about each other in strange ways. The relationship between the master sculptor and the pupil poet, we learn, was both tempestuous and tranquil. Auguste Rodin (1840–1917) had been widely known for decades when the young Bohemian-Austrian poet Rainer Maria Rilke traveled to Paris to interview him for an essay to be published in a German art book series.

Sculptor Auguste Rodin was fortunate to have his secretary Rainer Maria Rilke, one of the most sensitive poets of our time. These two pieces discussing Rodin's work and development as an artist are as revealing of Rilke as they are of his subject. Written in 1902 and 1907, these essays mark the entry of the poet into the world of letters. Rilke's description of Rodin reveals the profound

The relationship between the master sculptor and the pupil poet, we learn, was both tempestuous and tranquil. Written in 1902 and 1907, these essays mark the entry of the poet into the world of letters. Rilke’s description of Rodin reveals the profound psychic connection between the two great artists, both masters of giving visible life to the invisible. Rodin has pronounced Rilke's essay the supreme interpretation of his work. (From the translators’ Preface) Auguste Rodin, 1840-1917, was a French sculptor.

Although Sylvia Plath’s “Black Rook in Rainy Weather” and Rainer Maria Rilke’s “Just as the Winged Energy of Delight” address the link between the celestial and terrestrial realms through everyday miracles, the two writers put a different spin on the theme in their own lives. All that Rilke learned from Rodin he expressed to the world in two significant pieces which make up the bulk of this book: an essay written at the very start of his personal association with the elder artist in 1903; and a public lecture written at the end of their relationship in 1907. It was his travels to Russia, though, that marked the beginning of his serious works when the Book of Hours was published in 1905. Rilke would continue to travel to places such as Italy, Spain, Egypt, and Paris.
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Rilke’s description of Rodin reveals the profound psychic connection between the two great artists, both masters of giving visible life to the invisible.

Everything was in service to that determination.
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Rilke served for several years as Rodin's secretary — living in the sculptor's workshops, watching the shaping of his creations, and discussing his views and ideas. Written in 1903 and 1907, these essays about the master's work and development as an artist mark Rilke's entry into the world of letters.

Här kan man exempelvis nämna en av Rilkes inspirationskällor, Rodin, i ett brev till Henley den 14 november 1889: ”What Birthday: Rainer Maria Rilke, Austrian poet, 1875-1926. His are the only recent poems in German to have been translated & published in English, many times Virtually every day in the fall of 1907, Rainer Maria Rilke returned to a Paris gallery to view a Cezanne exhibition.

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Rilke’s essay on Rodin and his work remains one of the best accounts of the sculptor’s working process and is among the most penetrating interpretations of his art. I recently sat down with Anne-Lise Desmas, senior curator of sculpture and decorative arts at the Getty Museum, to discuss Rodin’s work and Rilke’s essay.

Corbett writes: The invention of empathy corresponds to many of the climactic shifts in the art, philosophy and psychology of fin-de-siècle Europe, and it changed the way artists thought about their work and the way observers related to it for Rilke had said of Rodin that “reality was on his side”; similarly, the reality of things revealed itself to Cézanne because of his painstaking, even self-sacrificing, deliberateness. Cézanne had an “infinitely responsive conscience,” Rilke wrote, and the artist had earned a “limitless objectivity” that was codified in his manner of working. By: Rainer Maria Rilke (1875-1926) Rodin has pronounced Rilke's essay the supreme interpretation of his work. (From the translators’ Preface) Auguste Rodin, 1840-1917, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. Rilke essay on rodin; 21 Maggio 2020 / Ultimo aggiornamento : 21 Maggio 2020 Senza categoria.