{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='The Thinker and The Kiss among new Rodin sculpture exhibition' data-url='/boclips/videos/5c54d78ed8eafeecae20ce67' data-video-url='/boclips/videos/5c54d78ed8eafeecae20ce67' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nThe Thinker and The Kiss among new Rodin sculpture exhibition\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:              A new exhibition of Auguste Rodin's sculptures is opening in London.              'Rodin and the art of ancient Greece' places the French artist's work alongside the Athenian marbles which inspired them.             ...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN:\u003cbr/\u003e              A new exhibition of Auguste Rodin's sculptures is opening in London.\u003cbr/\u003e              'Rodin and the art of ancient Greece' places the French artist's work alongside the Athenian marbles which inspired them.\u003cbr/\u003e              STORYLINE:\u003cbr/\u003e              The Thinker, perched on a rock and lost in thought for all eternity. \u003cbr/\u003e              The masterpiece by Auguste Rodin is on display at the British Museum in London alongside other works by the French sculptor which are on loan from the Musee Rodin in Paris.\u003cbr/\u003e              Born in 1840, Rodin died aged 77 as arguably the most well known sculptor of the modern era.  His first major commission - \"The Gates of Hell\" produced \"The Thinker\" -  the work for which he remains globally renowned.  \u003cbr/\u003e              Rodin's pieces are not being shown in isolation - they stand right next to some of the Parthenon marbles, taken from the Acropolis in Athens and brought to London by Lord Elgin in the 19th century.\u003cbr/\u003e              The sculptor  drew huge inspiration from this treasure trove of ancient Greek antiquities.\u003cbr/\u003e              He visited the British Museum numerous times to see its huge collections and sketch the relics.\u003cbr/\u003e              \"He, being interested in sculpture, was spoilt for choice,\" says the exhibition's co-curator Ian Jenkins. \u003cbr/\u003e              \"But of course it was always the Parthenon sculptures that thrilled him most. And he became a wonderful interpreter of them and our exhibition enables us to see the Parthenon sculptures through Rodin's eyes, and to a certain extent Rodin's through the Parthenon sculptures.\"\u003cbr/\u003e              Thousands of years old, figures from the Parthenon are unsurprisingly no longer intact. Limbs are missing, long ago broken from the sculptures.\u003cbr/\u003e              This incompleteness meant that when they first arrived in London, the marbles were not a popular collection for the era's artists. \u003cbr/\u003e              The Royal Academy entrance exams of the time required the drawing of a complete figure, so plaster cast restorations were more appealing to applicants than headless torsos.\u003cbr/\u003e              But for Rodin, the ancient but damaged sculptures of the Parthenon were irresistible and he recreated the look in his own work.\u003cbr/\u003e              \"He was greatly inspired by 'the fragment' and he didn't lament the ruin of these pieces and the loss of heads and limbs, but rather he celebrated this and he read all the power that could be expressed in just a torso, for example,\" says Celeste Farge, co-curator of the exhibition. \u003cbr/\u003e              \"This was translated into his own work and he really became the first artist to turn the headless, limbless torso into a genre of art in its own right.\"\u003cbr/\u003e              The Kiss sits next to its 5th century BC inspiration.\u003cbr/\u003e              Rodin studied the two goddesses reclining together and used ideas from that to create his famous intertwined lovers.\u003cbr/\u003e              But while the Frenchman's sculpture is viewed as romantic, its original purpose has far darker roots.\u003cbr/\u003e              \"It was a great surprise to me to learn that actually these figures originated, like so many of Rodin's works, from 'The Gates of Hell',\" says Farge.\u003cbr/\u003e              \"This was a project that Rodin worked on throughout his life, pretty much. It was the gates for a decorative arts museum in Paris but the museum was never built.\" \u003cbr/\u003e              \"But Rodin never completely abandoned his project and he would take figures from The Gates of Hell and turn them into independent works of art in their own right. And this is rather like the sculptures of the Parthenon: they started of life as it were as architectural ornaments and then when they were taken off the building and transported to the ground, they became art objects in their own right.\"\u003cbr/\u003e              Rodin had a deep affection for the British Museum and its controversial Greek marbles.\u003cbr/\u003e              He told the media that in his spare time he would \"haunt\" the museum and that the collections \"awakened\" in him a \"flood of sensations\".\u003cbr/\u003e              Despite a gulf of thousands of years, he considered the ancient Greek sculptor Pheidias a mentor.\u003cbr/\u003e              So what is it about his hero's marbles that inspired him so much?\u003cbr/\u003e              \"He would have loved their truth to nature, their boldness, their monumental presence,\" says Jenkins. \u003cbr/\u003e              \"But also their surfaces which were so mobile, so alive, that he thought that if he put his hand on them they would almost be warm.\"\u003cbr/\u003e              Rodin and the Art of Ancient Greece opens to the public on April 26 2018 and runs until July 29.\u003cbr/\u003e            \u003cbr/\u003e\u003cbr/\u003e              London, UK - 23 April 2018\u003cbr/\u003e              1. Wide of The Thinker by Auguste Rodin, in display the British Museum in the \"Rodin and the art of ancient Greece\" exhibition\u003cbr/\u003e              2. Close of The Thinker\u003cbr/\u003e              2. Close of small plaster version of The Thinker\u003cbr/\u003e              3. Tilt up of The Thinker\u003cbr/\u003e              4. Rising goddess, figure K from the east pediment of the Parthenon, about 438-432 BC\u003cbr/\u003e              5. Various of Cavalcade from the north frieze of the Parthenon about 438-432 BC\u003cbr/\u003e              6. SOUNDBITE (English) Ian Jenkins, co-curator, \"Rodin and the art of ancient Greece\":\u003cbr/\u003e              \"He, being interested in sculpture, was spoilt for choice. But of course it was always the Parthenon sculptures that thrilled him most. And he became a wonderful interpreter of them and our exhibition enables us to see the Parthenon sculptures through Rodin's eyes, and to a certain extent Rodin's through the Parthenon sculptures.\"\u003cbr/\u003e              7. Mid of head and torso, metope from the south side of the Parthenon (left), about 447-438 BC, and Funerary Spirit, also known as Spirit of Eternal Repose, by Auguste Rodin, 1898\u003cbr/\u003e              8. Close of head of Parthenon sculpture\u003cbr/\u003e              9. Tilt up of Funerary Spirit\u003cbr/\u003e              10. Wide of sculptures\u003cbr/\u003e              11. Torso of a satyr (left), Roman, AD 100-125 and torso of Venus, Roman, AD 50-125\u003cbr/\u003e              12. Headless statue of the so-called seated Agrippina type, Roman, AD 96-192\u003cbr/\u003e              13. Torso of the Falling Man from the Gates of Hell, also known as Torso of Louis XIV (left), by Auguste Rodin, 1904 and torso from the Parthenon \u003cbr/\u003e              14. Mid of Falling Man\u003cbr/\u003e              15. SOUNDBITE (English) Celeste Farge, co-curator, \"Rodin and the art of ancient Greece\":\u003cbr/\u003e              \"He was greatly inspired by 'the fragment' and he didn't lament the ruin of these pieces and the loss of heads and limbs, but rather he celebrated this and he read all the power that could be expressed in just a torso, for example. And this was translated into his own work and he really became the first artist to turn the headless, limbless torso into a genre of art in its own right.\"\u003cbr/\u003e              16. Wide of Goddesses in diaphanous drapery, figures L and M from the east pediment of the Parthenon (left), about 438-432 BC, and The Kiss bu Auguste Rodin, after 1898\u003cbr/\u003e              17. Goddesses in diaphanous drapery with foot from The Kiss in foreground\u003cbr/\u003e              18. Various of Goddesses in diaphanous drapery\u003cbr/\u003e              19. Various of The Kiss\u003cbr/\u003e              20. SOUNDBITE (English) Celeste Farge, co-curator, \"Rodin and the art of ancient Greece\":\u003cbr/\u003e              \" 'The Kiss' by Rodin is a very interesting piece and it was a great surprise to me to learn that actually these figures originated, like so many of Rodin's works, from 'The Gates of Hell'. And this was a project that Rodin worked on throughout his life, pretty much. It was the gates for a decorative arts museum in Paris but the museum was never built. But Rodin never completely abandoned his project and he would take figures from The Gates of Hell and turn them into independent works of art in their own right. And this is rather like the sculptures of the Parthenon: they started off life as it were as architectural ornaments and then when they were taken off the building and transported to the ground, they became art objects in their own right.\"\u003cbr/\u003e              21. Close of marble statute heads, Greek, 325-300 BC\u003cbr/\u003e              22. Mid of the river god Ilissos, figure A from the west pediment of the Parthenon, about 438-432 BC, with Rodin's interpretations of the marble in background\u003cbr/\u003e              23. Mid of sculptures depicting Iris, messenger of the Gods. Parthenon version on left in marble, Rodin's version of right in bronze, 1895\u003cbr/\u003e              24. Tilt up of Parthenon sculpture of Iris, messenger of the Gods\u003cbr/\u003e              25. Various of Horse of Selene, figure O from the east pediment of the Parthenon, about 438-432 BC\u003cbr/\u003e              26. SOUNDBITE (English) Ian Jenkins, co-curator, \"Rodin and the art of ancient Greece\" :\u003cbr/\u003e              \"He would have loved their truth to nature, their boldness, their monumental presence. But also their surfaces which were so mobile, so alive, that he thought that if he put his hand on them they would almost be warm.\"\u003cbr/\u003e              27. Various of Monument to the Burghers of Calais by Auguste Rodin, 1889\u003cbr/\u003e              28. 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