Review of Apropos Rodin by Gough-Cooper and Dyer

This Luscious Book is a Fantastic Introduction to Rodin

Aug 24, 2009

Gough-Cooper's beautiful photography breathes life into the work of this famous sculptor.

The Rodin Museum in Paris is a fabulous space, and it is well worth spending some time there if you are visiting the city. For those living further away, Apropos Rodin is a wonderful collection of photographs of his sculptures.

Photography and Sculpture in the Nineteenth Century

One of the earliest uses of photography was to make visual records of art. Sculpture was particularly suited to this medium before the advent of colour, as the camera could pick out the shadows and varying relief of the physical form.

Photography was a great aid to Rodin as a creative artist: he used it to revise and analyse his sculptures, and also placed pictures alongside his work in exhibitions. He did not take the photographs himself, instead relying on others to help him. However, he seemed to dislike photography as an art form, and has been recorded criticising it on several occasions.

Gough-Cooper’s Photographs taken at the Rodin Museum in Paris

In this book, Gough-Cooper focuses on the details of Rodin’s work, showing how he brought the marble and plaster to life. In her hands, the stone is soft and fleshy, and the figures seem to breathe. Indeed, Dyer says in his introduction that ‘what she has photographed is nothing less than the awakening of stone, stone awakening to the camera’s touch.’ (pg 29)

In the building, there is a variety of different lights: the natural sunlight coming through the window, the electric light in the rooms and the light reflecting in the mirrors that surround the sculptures. She utilises this powerful source, photographing the sculptures from different angles to evoke the changing personalities of Rodin’s work.

The shadows take on different colours and inspire various emotions in the observer. Jean D’Aire (pg 63) appears rough, hewn and earthy, whereas the figure of The Tempest (pg 42-3) has wild, billowing hair, personifying the powerful, light, energetic force of a storm. In contrast, Lovers’ Hands (pg 46) have a silky surface, giving the impression of gentle tenderness.

Gough-Cooper’s Photographs of Rodin’s Eternal Idol (Plaster)

The first photograph (pg 87) shows the couple in a glass case. The distance and angle gives the impression that they are in a private room having an intense erotic moment, and the observer becomes a God-like figure looking down on them. They could be held in the palm of a hand. The double reflections in the mirror are like a shadow on the wall, and the ethereal quality makes them seem more emotional than the physical sculpture itself.

In the close-up photograph (pg 88-9) the details of the plaster are more apparent, and the couple seem more solid. The shaft of light coming through the window appears to emanate from the woman, throwing the contrasting shadows into sharp relief. It is a sexual and spiritual moment – their union seems divine.

Gough-Cooper’s Photographs of Rodin’s Centauress (Marble)

In the first picture (pg 102) the equine aspect of the work is highlighted – the light emphasises the muscles and the animal nature of the mythical creature. In contrast, the reflection in the mirror shows the feminine aspect, the light homing in on the curves of her body and highlighting her breasts.

The light is very different in the second photograph (pg 103). Here, the feminine aspect is more dimly lit and a calm, dark, sensual energy is evoked.

In the third picture (pg 104-5) the Centauress is shown as a creative feminine force. She appears to be making something from a ball of marble, her arms sunk deep into it. Her face is now full of concentration and her arms are strong. Interestingly, the reflection in the mirror is more languid and receptive, appearing to be overcome by some external force. The photograph thus reflects two sides of the creative process.

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