Auguste Rodin. Monument to Balzac. 1898 (cast 1954). Bronze, 9′ 3″ x 48 1/4″ x 41″ (282 x 122.5 x 104.2 cm). from MOMA.

The sculptor must learn to reproduce the surface, which means all that vibrates on the surface, soul, love, passion, life. – Rodin

Yesterday evening we went to see the exhibition Rodin: A Magnificent Obsession at the Vancouver Art Gallery, the first time that we’ve seen a major collection of his work. I went expecting to be disappointed for some reason, but it turned out to be a very very good show, quite inspiring. There were about 70 works mostly sculptures, a few small and beautiful engravings and some photographs. Lots of interesting information posted about the artist’s life, works, writings, the lost wax process for bronze casting, a law concerning editions of his sculptures (12 only per work), and so on, all made it a great learning experience. Interestingly, Rodin himself did not believe in limited editions, sometimes having hundreds of a popular sculpture such as The Kiss made up in different sizes by his studio and the foundries. (The tacky reproductions in the gift shop don’t count!)

Of course, cameras were not allowed so I found an image online, above, of one of my many favourites – do read the interesting description of the creation of this Balzac commission. There were several examples of the numerous studies Rodin made of Balzac (famous but dead, can you imagine?) before he decided on the above one. My husband chuckled over the one with an erection only partly concealed by the writer’s hand. Rodin wanted to portray Balzac’s famed eroticism as well as his overweight figure which did not go over well, and even the robed figure above was deemed too controversial. Much of Rodin’s work, with its rough textures and expressive movement, was considered somewhat radical for his time.

The Musée Rodin, chosen by the artist himself, has a website with a wealth of information and an excellent online gallery of works in different media. And the Rodin Museum in Philadelphia has Rodin’s Sketchbook online.

If you’re in Vancouver and want to see the exhibition, it is still on until September 22nd. If you want to save money, go on a Thursday evening. This is the first time we went on a Thursday night which is by donation, paying $10 for the two of us, which normally is $30 now. (I had let my membership lapse.) Obviously Rodin is popular for it was very busy, especially with two large groups with guides, rather like an opening night where it was hard to see some work. I do prefer a quieter time to really enjoy the art with a sense of meditation, but it was still worth it.

UPDATE: Sept.11.05 You may like to also read an interesting article on Art Daily about a great sounding exhibition of drawings and sculptures by August Rodin and Joseph Beuys at Schirn Kunsthalle Frankfurt in Germany. If I were in Frankfurt….

Marlene Dumas
Female, 1992-93
from the series Female
211 tusche and charcoal drawings
Sammlung Garnatz, Städtische Galerie Karlsruhe

“Kunsthalle Helsinki will offer a unique opportunity to see works by one of the hottest names in contemporary art, Marlene Dumas. The show presents an exceptionally broad retrospective of the artist’s production from the 1970s up to the present. Born in South Africa in 1953, Dumas lives and works in the Netherlands. She is known for her masterful watercolours and subtle portraits. Her work enjoys an established status in major art museums and galleries and fetch unprecedented prices at auctions. Dumas’ work is currently on exhibit at the main venue of the Venice Biennial. Exhibitions of her work have been relatively rare in the Nordic countries, and the present show is the largest of its kind here.

Marlene Dumas’ paintings are a profound exploration of the human condition, of sexuality, birth and death, as well as psychological and philosophical themes. The show in Helsinki will include Female, a series of 211 female portraits that examines the representations of femininity, the gaze and the process of depiction and interpretation.”

“In addition to Female, the exhibition includes about thirty large oil paintings, gouaches and watercolours, as well as rare early drawings and sketches from the 1970s.” Read more…

View some of Dumas’ works at Art Daily’s Photo Gallery and Google Images.
images and words is Marlene Dumas’ own beautiful site.

I like her irreverent words, balancing her rather somber work, like these two excerpts from Marlene Dumas’ statement on women and painting:

“I paint because I am a woman.
(It’s a logical necessity.)”
“I paint because I am a religious woman.
(I believe in eternity.)”

ADDENDUM Sept.26.05: The Saatchi Gallery in London, UK has a fine page on Marlene Dumas.

An unexpectedly nostalgic event is occurring at Emily Carr Institute. Formerly Emily Carr Institute of Art & Design. Formerly Emily Carr College of Art and Design. Formerly the Vancouver School of Art. Originally the Vancouver School of Decorative and Applied Arts, founded in 1925. The nostalgic event is Evolution: 80 Years of Emily Carr Institute Alumni, an exhibition of some 195 works spanning multiple generations, cultures, and media.

“This is the first-ever comprehensive show of alumni work,” says Wynne Palmer, alumni- society board member and Evolution curator. (In 1994, Sam Carter curated 64-94: Contemporary Decades, which surveyed 30 of the school’s then 69 years.) And, she adds, there’s never been a formal reunion of former VSA/ECI students. “It’s not only the 80th anniversary of the school but it’s also a homecoming of sorts for the alumni.

Read the whole article by art critic Robin Laurence in the Georgia Straight.

The opening is happening as I write this, and I’m sad that I’m not there as planned to see many artist friends and note the many big-name artists and admire their work. I had a medical appointment and errands in town this morning, and this afternoon I began to feel unwell and very tired, partly from the heat. Even a nap did not restore my enthusiasm to drive back and join the large crowds that I’m sure will be there. I have to comfort myself with the thought that I will later see all the work better without the bodies! I may even blog on the show after I’ve seen it.

If you are in Vancouver, this is a must-see exhibition, it continues to Aug 27, 2005 at Emily Carr Institute on Granville Island, Vancouver. Hours: 10:00am – 6:00pm

Update Aug.5.05: Howard Pennings, an ECI alumnus, attended the opening and took several photos – have a look.