<p style="text-align: center"><a href="http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg"><img class="aligncenter size-medium wp-image-2030" src="http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg" alt="" width="237" height="300" /></a>("The Gates of Hell")</p>
The French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.

Rodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris
in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor's death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin's most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)

“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti's “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion
and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).

He used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).

Rodin's sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year's work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin's compassionate commentary on the moral cost to society of the decline of orthodox religion and
the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).

“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).

A few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:

“All of those who had been able to admire in the artist's studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).

Truman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:

“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).

Overall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:

“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).

Set this work next to Ghiberti's “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).

On the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.

Personally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw
feeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his
vision.

I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.

<strong><span style="text-decoration: underline">Works Cited:</span></strong>
<ul>
	<li>Brucker,
Julia. “<strong>Francois-Auguste-Rene
Rodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,
2011.</li>
</ul>
&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;

&nbsp;
<ul>
	<li>Elsen,
Albert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,
2011.</li>
</ul>
&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;

&nbsp;
<ul>
	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.
Web. 01 Nov. 2011.</li>
</ul>
&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;

&nbsp;
<ul>
	<li>Facos,
Michelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>
</ul>
&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;

&nbsp;
<ul>
	<li>Gray,
Don. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum
of Art (1983).</strong>” jessieevans-dongray.com.
1983. Web. Accessed: October 23, 2011.</li>
</ul>
&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;

&nbsp;
<ul>
	<li>Haber,
John. “<strong>The Gates to the City</strong>.”
Haberarts.com. 2011. Web. Accessed: October 24, 2011.</li>
</ul>
&lt;http://www.haberarts.com/ghiberti.htm&gt;

&nbsp;
<ul>
	<li>Richard,
Rogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>
</ul>
&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;

&nbsp;
<ul>
	<li>Roos,
Hans. “<strong>Rodin Works: The Gates of
Hell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,
2011.</li>
</ul>
&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;

&nbsp;
<ul>
	<li>Unknown.
“<strong>Auguste Rodin: His Life and Art</strong>.”
Rodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>
</ul>
&lt;http://www.rodin-art.com/artist.htm&gt;

&nbsp;
<ul>
	<li>Unknown.
“<strong>Eternal Spring.</strong>” State Hermitage Museum.
2011. Web. Accessed: October 25, 2011.</li>
</ul>
&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;