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¿À±Í½ºÆ® ·Î´ó (Auguste Rodin, Francois Auguste Rene Rodin), Á¶°¢°¡
[Ãâ»ý-»ç¸Á]1840³â 11¿ù 12ÀÏ, ÇÁ¶û½º, Æĸ® - 1917³â 11¿ù 17ÀÏ, ÇÁ¶û½º ¸þµ¿ (77¼¼) [7ºÐ Youtube µ¿¿µ»ó]
[Á÷¾÷] Á¶°¢°¡, È°¡ [Á¾±³] °¡Å縯 [¼ö»ó] ·¹Áö¿Ë µµ³ú¸£ ÈÆÀå [Çз»çÇ×] ¿Á½ºÆÛµå´ëÇб³ ¸í¿¹¹Ú»ç [ÁÖ¿ä ÀÛÇ°] ûµ¿±â ½Ã´ë (L'age d'airin) 1877 °È´Â ³²ÀÚ (L'homme qui Marche) 1877-78 Áö¿ÁÀÇ ¹® (La Porte de l'Enfer) 1880 - »ý°¢ÇÏ´Â »ç¶÷ (Le Penseur) 1880 Ä®·¹ÀÇ ½Ã¹Î (Les Bourgeois de Calais) 1889 Å°½º (¸£ ¹ÙÀÌÀú) 1889 ¹ßÀÚÅ© ±â³ä»ó (Monument to Balzac) 1897 »ç»ó°¡ (Le Penseur) 1902 »ý°¢ÇÏ´Â »ç¶÷ 1904 °È´Â »ç¶÷ 1907 Ŭ·¹¸Á¼Ò 1913 [»ý¾Ö È°µ¿ ¹× ¾÷Àû µî] ÇÁ¶û¼ö¾Æ ¿À±Í½ºÆ® ¸£³× ·Î´ó(Francois-Auguste-Rene Rodin, 1840³â 11¿ù 12ÀÏ - 1917³â 11¿ù 17ÀÏ)Àº ÇÁ¶û½ºÀÇ Á¶°¢°¡ÀÌ´Ù. ±Ù´ë Á¶°¢ÀÇ ½ÃÁ¶À̸ç, ±Ù´ë Á¶°¢ »ç»ó °¡Àå À§´ëÇÑ Á¶°¢°¡ÀÌ´Ù.
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[¹Ì¼ú°øºÎ] ÇÁ¶û½º Æĸ® Áß»êÃþ °¡Á¤¿¡¼ ¾î¸Ó´Ï ¸Þ¸® üÆÛ¿Í °æÂûû »ç¹«¿øÀ̾ú´ø ¾Æ¹öÁö Áø ¹äƼ½ºÆ® ·Î´ó »çÀÌ¿¡¼ Ãâ»ýÇß´Ù.
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·Î´óÀÇ ¾Æ¹öÁö´Â ´Ã "³ª´Â ¹Ùº¸ °°Àº ¾ÆµéÀ» µÎ¾ú¾î"¶ó°í ÇÑźÇÏ¸ç °øºÎ¸¦ ¸øÇß¾ú´ø ·Î´óÀ» ºÎ²ô·¯¿öÇß¾ú´Ù°í ÇÑ´Ù. ·Î´óÀº 10¼¼ ¶§ºÎÅÍ È¥ÀÚ¼ ±×¸²À» ±×¸®±â ½ÃÀÛÇÏ¿´°í, ÀÚ¶ó¼ 14¼¼ ¶§ ±¹¸³°ø¿¹½Ç±âÇб³¿¡ ÀÔÇÐ, Á¶°¢°¡·Î¼ÀÇ ±âÃʸ¦ ´Û¾Ò´Ù. 14¼¼ºÎÅÍ 17¼¼±îÁö ¹Ì¼ú°ú ¼öÇÐÀÌ Àü¹®ÈµÈ ÇÁƼ ¿¡ÄÝ (Petite Ecole)À̶ó´Â Çб³¿¡¼ µå·ÎÀ×°ú ÆäÀÎÆÃÀ» °øºÎÇÏ¿´´Ù.
·Î´óÀÇ µå·ÎÀ× ¼±»ý´ÔÀ̾ú´ø ¸£ÄÚÅ© µå ºê¾Æµµµå¶û (Horace Lecoq de Boisbaudran)À¸·ÎºÎÅÍ ±³À°À» ¹Þ¾Ò´Ù. ¸£ÄÚÅ© µå ºê¾Æµµµå¶ûÀº ±×ÀÇ ÇлýµéÀÌ ±×µéÀÌ »ý°¢ÇÏ°í °üÂûÇÑ °ÍÀ» ±×¸®´Â °ÍÀÌ ±×µéÀÇ ÀΰÝÀÌ ¹ßÀüÇÒ ¼ö ÀÖ°Ô ÇÑ´Ù°í ¹Ï¾ú´Ù. ÀÌ·¯ÇÑ »ç»óÀº ·Î´óÀÇ Á¶°¢Ç°µé¿¡ Å« ¿µÇâÀ» ¹ÌÃÆ´Ù.
[ÁÂÀý] 1857³â ·Î´óÀº ¿¡ÄÝ µ¥ º¸ÀÚ¸£ (Ecole des Beaux-Arts)¿¡ ÀÔÇÐÇϱâ À§ÇØ ÀÚ½ÅÀÇ µ¿·á¸¦ ¸ðµ¨·Î ¸¸µç ÂûÈëÀÛÇ°À» Á¦ÃâÇÏÁö¸¸, ÀÔÇÐÇÏÁö´Â ¸øÇÏ¿´´Ù. ±×·ÎºÎÅÍ µÎ ÀÛÇ°À» ´õ Á¦ÃâÇÏ¿´À¸³ª °ÅºÎµÇ¾ú´Ù. ±×·£µå ¿¡ÄÝ¿¡ ÀÔÇÐÇϱâ À§ÇÑ ¿äû»çÇ×µµ ±× ´ç½Ã ³ôÁö ¾Ê¾Ò´Âµ¥µµ ÀÔÇÐÀÌ °ÅºÎµÇ¾ú±â ¶§¹®¿¡, ·Î´óÀº ½ÉÈ÷ ÁÂÀýÇÒ ¼ö¹Û¿¡ ¾ø¾ú´Ù.
·Î´óÀÇ ÀÛÇ°µéÀÌ °ÅºÎµÇ¾ú´ø °¡Àå Å« ¿øÀÎÀº ÆÇÁ¤°¡µéÀÌ ·Î´óÀÇ »õ·Î¿î °¨°¢ÀûÀÎ Á¶°¢Ç°µéº¸´Ù´Â ½Å°íÀüÁÖÀÇÀûÀÎ ÀÛÇ°µéÀ» Ãß±¸ÇÏ¿´±â ¶§¹®À̶ó°í ¾Ë·ÁÁö°í ÀÖ´Ù. 1857³â ·Î´óÀº ÇÁƼ ¿¡ÄÝÀ» ¶°³ª°Ô µÈ´Ù. ±× ÈÄ¿¡´Â »ýÈ°ºñ¸¦ À§ÇÏ¿© Á¶°¢°¡ÀÇ Á¶¼ö µîÀ» Áö³Â´Âµ¥, ÀÌ´Â ¿ÀÈ÷·Á °üÇÐÀÇ Çü½ÄÁÖÀÇÀû Ÿ¶ôÀ» ¸·¾ÆÁÖ´Â °á°ú°¡ µÇ¾ú´Ù. 20¿©³â°£À» Àå½ÄÇ°µé°ú °ÇÃàÀå½ÄµéÀ» Á¦ÃâÇÏ´Â ÀÏÀ» ÇÏ´Â ÀåÀÎÀ¸·Î »ì¾Ò´Ù.
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[¹Ì¼úÈ°µ¿] 24¼¼ ¶§ ÃÖÃÊÀÇ °ÉÀÛ <ÄÚ°¡ ¸Á±×·¯Áø »ç³ªÀÌ>¸¦ »ì·Õ¿¡ ÃâÇ°ÇÏ¿´À¸³ª ³«¼±ÇÏ¿´´Ù. 1862³â ·Î´óÀÇ ´©ÀÌ¿´´ø ¸¶¸®¾Æ(Maria)°¡ ¼öµµ¿ø¿¡¼ º¹¸·¿°À¸·Î ¼¼»óÀ» ¶°³µ´Ù. ±×³à¿¡°Ô ¹ÏÀ½Á÷½º·´Áö ¾ÊÀº ±¸È¥ÀÚ¸¦ ¼Ò°³ÇØ ÁÖ¾ú´ø ·Î´óÀº ÀÌ ÀÏ¿¡ ÁËÃ¥°¨À» ´À³¢°í ±«·Î¿öÇÑ´Ù. ·Î´óÀº °á±¹ Á¶°¢À» ±×¸¸µÎ°í ·Î¸¶ °¡Å縯 ±³È¸ ½Å¾ÓÀ» °¡Á³´Âµ¥, ·Î¸¶ °¡Å縯 ±³È¸ »çÁ¦ÀÎ ÇÇÅÍ ÁÖ¸®¾È µ¥À̸»µå (Peter Julian Eymard)½ÅºÎ´Â ·Î´óÀÌ ´Ù½Ã Á¶°¢À» Çϵµ·Ï °Ý·ÁÇÏ¿´´Ù. µ¥À̸»µå ½ÅºÎ°¡ º¸±â¿¡´Â ·Î´óÀº ±³È¸¿¡¼ È°µ¿ÇÏ´Â °Íº¸´Ù Á¶°¢À» ÇÏ´Â°Ô ¸Â´Â »ç¶÷À̾ú´Ù. ·Î´óÀº Àå½ÄÇ°µéÀ» Á¶°¢ÇÏ´Â ÀÏÀ» ´Ù½Ã ½ÃÀÛÇßÀ¸¸ç, µ¿¹° Á¶°¢°¡¿´´ø ¾ÓÅõ¾È·çÀÌ ¹Ù¸®(Antoine-Louis Barye)ÀÇ ¼ö¾÷¿¡ Âü¿©Çß´Ù.
µ¿¹°µéÀÌ ¿òÁ÷ÀÏ ¶§ÀÇ Á¤±³ÇÑ ±ÙÀ°Á¶Á÷µéÀ» ÈǸ¢È÷ Ç¥ÇöÇß´ø ¹Ù¸®ÀÇ ÀÛÇ°µéÀº ·Î´ó¿¡°Ô Å« ¿µÇâÀ» ÁÖ¾ú´Ù. 1875³â ÀÌÅ»¸®¾Æ¸¦ ¿©ÇàÇϴµ¥, ±×°ÍÀº ÀÚ¿¬À¸·ÎºÎÅÍÀÇ »õ·Î¿î Ãâ¹ßÀÇ Àǹ̰¡ ÀÖÀ¸¸ç, ¡´Ã»µ¿ ½Ã´ë¡µ¸¦ Á¦ÀÛÇÏ´Â °è±â°¡ µÇ¾ú´Ù.
[°áÈ¥°ú Àü½Ãȸ °³ÃÖ] 1864³â Æò»ýÀÇ ¹Ý·ÁÀÚÀÎ ÀçºÀ»ç ·ÎÁî ºÆ·¹¸¦ ¸¸³ª°Ô µÈ´Ù. ±×µéÀº ¾Æµé ¿À±Í½ºÆ® ¿ÜÁ¨ ºÎ·¿(Auguste-Eugene Beuret)À» ³º¾ÒÀ¸¸ç, óÀ½À¸·Î Á¶°¢ Àü½Ãȸ¸¦ °¡Á³´Ù. Àü½Ãȸ¸¦ °è±â·Î ¸í¼º ³ôÀº Á¶°¢°¡ Ä«¸®¿¡ º§·ÚÁî ¾ÆƲ¸®¿¡ (Albert-Ernest Carrier-Belleuse)ÀÇ ÀÛ¾÷½Ç¿¡¼ ÀÛ¾÷À» Çߴµ¥, ÁöºØ, °è´Ü, ±×¸®°í ÃâÀÔ¹® Àå½ÄµéÀ» µµ¸Ã¾Æ ÇÏ¿´´Ù. 1870³â ÇÁ·ÎÀ̼¾-ÇÁ¶û½ºÀüÀïÀ¸·Î ÀÎÇØ ·Î´óÀº °æÁ¦Àû ¾î·Á¿òÀ» °Þ°Ô µÈ´Ù. ±×·¯³ª Ä«¸®¿¡ º§·ÚÁî ¾ÆƲ¸®¿¡ÀÇ ¿äûÀ¸·Î º§±â¿¡ ºê·ò¼¿¿¡¼ Áõ±Ç °Å·¡¼Ò °Ç¹°Àå½ÄµéÀ» ¸¸µé¸ç ¹Ì¼úÈ°µ¿À» °è¼ÓÇÏ¿´´Ù. 1875³âºÎÅÍ ÀÌÅ»¸®¾Æ¿¡¼ ü·ùÇß°í 1877³â¿¡ ÇÁ¶û½º·Î ±Í±¹ÇÏ¿´´Ù. ´ëÇ¥ÀÛÀ¸·Î´Â ¡¶Ä®·¹ÀÇ ½Ã¹Î¡·, ¡¶Áö¿ÁÀǹ®¡·, ¡¶»ý°¢ÇÏ´Â »ç¶÷¡· µîÀÌ ÀÖ´Ù. [Ä«¹ÌÀ¯ Ŭ·Îµ¨°úÀÇ ¸¸³²] Ä«¹ÌÀ¯ Ŭ·Îµ¨Àº ·Î´óÀÇ ¿¬ÀÎÀ̾ú´Ù.
·Î´óÀÇ À¯¸íÇÑ Á¶°¢ÀÎ Áö¿ÁÀÇ ¹®Àº ·Î´óÀÌ 1880³â¿¡ ÁÖ¹®¹Þ¾ÒÀ¸¸ç, Æò»ý ÀÛ¾÷ÇÑ ÀÛÇ°À̾ú´Ù. 1881~1882³â ÀÚ½ÅÀÇ Á¦ÀÚÀÌÀÚ µ¿¾÷ÀÛ°¡ÀÎ Ä«¹ÌÀ¯ Ŭ·Îµ¨(ÀÛ°¡ Äݷε¨ÀÇ ´©À̵¿»ý)°úÀÇ Àο¬ÀÌ ½ÃÀ۵ȴÙ. Ŭ·Îµ¨Àº 16³â µÚ ±×¿ÍÀÇ °áº° ÈÄ Á¤½ÅÀÌ»óÀÚ°¡ µÇ¾úÁö¸¸, ·Î´óÀº <Ä®·¹ÀÇ ½Ã¹Îµé>, <ºòÅ丣 À§°í>, <¹ßÀÚÅ©> °°Àº Áß¿äÇÑ ¿©·¯ ÀÛÇ°ÀÇ ÁÖ¹®À» ¹Þ´Â´Ù. ÀÌ Áß ¸¶Áö¸· µÎ ÀÛÇ°Àº °ÅÀýÀ» ´çÇÑ´Ù. 1900³â¿¡ ·Î´óÀº Á¶°¢°¡·Î¼ ´ë¼º°øÀ» °ÅµÐ´Ù. ½ÃÀÎ ¶óÀÌ³Ê ¸¶¸®¾Æ ¸±ÄÉ´Â 1905³â ·Î´óÀÇ ºñ¼·Î È°µ¿ÇßÀ¸¸ç,
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1908³â¿¡´Â ÇöÀçÀÇ ·Î´ó ¹Ì¼ú°üÀÎ ºñ·Õ È£ÅÚÀ» ºô¸®µµ·Ï Ã˱¸ÇÏ¿´´Ù.
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[¿©¼º°ü°è ¹× °áÈ¥»ýÈ° µî] 1883³â ·Î´óÀº Á¶°¢°¡ ¾ËÇÁ·¹µå ºÎ½¦(Alfred Boucher)ÀÇ ºÎÀçÁß, ¼ö¾÷À» °¨µ¶Çϱâ·Î µ¿ÀÇÇß°í, ±×°÷¿¡¼ 18¼¼ÀÇ Ä«¹ÌÀ¯ Ŭ·Îµ¨(Camille Claudel)À» ¸¸³µ´Ù. µÎ »ç¶÷Àº ¿Á¤ÀûÀ̸鼵µ Æødz°°Àº °ü°è¸¦ Çü¼ºÇß°í ¿¹¼úÀûÀ¸·Îµµ ¼·Î¿¡°Ô ¿µÇâÀ» ¹ÌÃÆ´Ù.
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Ŭ·Îµ¨Àº ·Î´ó¿¡°Ô ¸¹Àº Àι°ÀÇ ¸ðµ¨·Î ¿µ°¨À» ÁÖ¾úÀ¸¸ç, Ä«¹ÌÀ¯ Ŭ·Îµ¨Àº ÀÚ½ÅÀÇ ÀÛÇ°À» âÀÛÇÒ »Ó¸¸ ¾Æ´Ï¶ó ·Î´óÀÇ ÀÇ·Ú¸¦ º¸Á¶ÇÏ´Â Àç´ÉÀÖ´Â Á¶°¢°¡¿´´Ù. Ä«¹ÌÀ¯ Ŭ·Îµ¨ÀÇ ·Î´ó Èä»óÀº 1892³â »ì·Õ¿¡¼ ºñÆò°¡µéÀÇ Âù»ç¸¦ ¹Þ¾Ò´Ù. 1889³â Æĸ® »ì·ÕÀº ·Î´óÀ» ¿¹¼ú ½É»çÀ§¿ø´ÜÀÇ ½É»çÀ§¿øÀ¸·Î ÃÊ´ëÇß´Ù. RodinÀÇ °æ·ÂÀÌ »ó½Â¼¼¿¡ ÀÖ¾úÁö¸¸ Claudel(Ŭ·Îµ¨)°ú Beuret(ºÆ·¹)´Â RodinÀÇ "ÀÌÁß »ýÈ°"¿¡ Á¡Á¡ ´õ ¾Ö°¡ÅÀ´Ù.
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1904³â ·Î´óÀº ¿þÀϽº ¿¹¼ú°¡ ±×À¢ Á¸(Gwen John)À» ¸¸³µ°í, ±×À¢ Á¸(Gwen John)Àº ·Î´óÀ» ¸ðµ¨·Î »ï¾Ò°í, Èú´Ù Ç÷εò(Hilda Flodin)ÀÇ ¼Ò°³·Î ·Î´óÀÇ ¿¬ÀÎÀÌ µÇ¾ú´Ù. ±×À¢ Á¸Àº ·Î´ó¿¡°Ô ¿·ÄÇÑ ¾ÖÂøÀ» °¡Á³°í, ÀÌÈÄ 10³â µ¿¾È ·Î´ó¿¡°Ô ¼öõ ¹ø ÆíÁö¸¦ ½è´Ù.
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Auguste Rodin
[Born] Francois-Auguste-Rene Rodin, 12 November 1840 Paris, France [Died] 17 November 1917 (aged 77) Meudon, lle-de-France [Nationality] French [Known for] Sculpture, drawing [Notable work] The Age of Bronze (L'age d'airain), 1877 The Walking Man (L'homme qui marche), 1877–78 The Burghers of Calais (Les Bourgeois de Calais), 1889 The Kiss, 1889 The Thinker (Le Penseur), 1902 [Awards] Legion d'Honneur Francois Auguste Rene Rodin (12 November 1840 – 17 November 1917), known as Auguste Rodin, was a French sculptor.
Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art. Sculpturally, Rodin possessed a unique ability to model a complex, turbulent, deeply pocketed surface in clay. Many of his most notable sculptures were roundly criticized during his lifetime. They clashed with the predominant figure sculpture tradition, in which works were decorative, formulaic, or highly thematic.
Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community. From the unexpected realism of his first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, Rodin's reputation grew, such that he became the preeminent French sculptor of his time.
By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades, his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community. (from naver.com wikipedia.org, Ãßõ À¯Æ©ºê µ¿¿µ»ó, ** Selected & Recommended Youtube Videos are shown. **)
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