| Alkotó | |
|---|---|
| Kultúra | French |
| Készítés ideje | model: 1884; cast: between 1899-1918 |
| Tárgytípus | sculpture |
| Anyag, technika | bronze |
| Méret | 71.5 x 43 x 44 cm |
| Leltári szám | 68.1.U |
| Gyűjtemény | Department of Art after 1800 |
| Kiállítva | Ez a műtárgy nincs kiállítva |
Rodin modelled The Kiss in 1884, the same year as Eternal Springtime, and there is an undeniable relationship between the two pieces. While ardent desire and unbridled sexuality are frequently to be found among the sculptor’s choice of subjects, he was fascinated first and foremost by the beauty of the human body. However, he opted for different approaches to the modelling of the two works: in Eternal Springtime, the viewer’s gaze is held by the way in which the sensual bodies are liberated from the solid block that encases them, while what is spellbinding here is the intimacy of the couple’s embrace.
The Kiss has an immediate connection with The Gates of Hell: in an early clay model of the latter work, the intertwined figures of Paolo and Francesca are depicted in exactly the same pose, although this was subsequently altered. By enlarging the original design and making it into an independent composition, he produced one of the most recognised pieces of modern sculpture. Its popularity may partly be due to the fact that Rodin granted the Barbedienne casting company permission to reproduce large numbers of bronze replicas of the model in various sizes.
Ferenc Tóth
Illyés, Mária, Verő, Mária (ed.), XIX. századi francia művek, A Szépművészeti Múzeum gyűjteményei/The Collections of the Museum of Fine Arts, Budapest 4, Szépművészeti Múzeum, Budapest, 2001, p. 124-126.
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