Auguste Rodin (1840-1917) intensiviertseine zeichnerische Tauml;tigkeit als etwa 10-Jauml;hriger und besucht ab 1854 in der Zeichen- und Mathematikschule La Petite Eacute;coleKurse von Henri Lecoq de Boisbaudran (1802-1897) und des MalersJean-Hilaire Belloc (1786-1866). Dort entdeckt er fuuml;r sich die Bildhauerei. Er verlauml;sst 1857diese Schule und versucht; an der beruuml;hmten Eacute;cole nationale supeacute;rieure des beaux-artsaufgenommen zu werden; scheitert aber dreimal.Ab 1864 beginnt eineachtjauml;hrige Zusammenarbeit mit dem Bildhauer Albert-Ernest Cartier-Belleuse (1824-1887); der sich eine 1873 Kooperation mit dem belgischen Bildhauer Antoine-Joseph van Rasbourgh (1831-1902) anschlieszlig;t.Zu seinen ersten groszlig;en Werken zauml;hlen u. a. Der Mann mit der gebrochenen Nase(1864); die spauml;ter vom franzouml;sischen Staat angekauftelebensgroszlig;e Figur Das eherne Zeitalter(1875/1876); der auch fuuml;r das zukuuml;nftige Museum der dekorativen Kuuml;nsteein nie fertiggestelltes Portalbestellte. Diesen Arbeiten folgten im Lauf der Jahreu. a. Der Kuss (1886);die Buuml;rger von Calais(1889) und Der Schreitende(1877-1880 und 1900). Seine Hauptarbeit ist wohl Das Houml;llentor(1880-1817); an dem er 37 Jahre lang und bis kurz vor seinem Tod arbeitete und aus dem seine bekannteste andere Figur; Der Denker; stammt; dessen Kopie uuml;ber dem Grab der ebenfalls 1917 gestorbenen; spauml;t geheirateten Rose Beuret steht.
#2691320 in eBooks 2011-12-22 2011-12-22File Name: B00CR6D6IS
Review
8 of 8 people found the following review helpful. One Criticism: There Needs to be a Volume Two!By Rhio9Absolutely brilliant book. Soft bound. 310 glossy; shiny pages and photos. As big as any magazine: Vogue; Vanity Fair; Playboy; Sports Illustrated. Small font. Not divided into "chapters"; but divided into decades from 1930 to present day. This is more of a reference book; source material. The "interviews" arent really QA; some of it are like newspaper reports; articles; personal journals from the artists themselves; historical background. From a few short paragraphs; a few columns to several pages in length. My one and only criticism is there isnt a volume Two or Three!3 of 3 people found the following review helpful. Different authors and different levels of erudition from so the result is some great articles; some very goodBy Bill StevensonThis is a compendium of articles from years of DownBeat magazines. Different authors and different levels of erudition from so the result is some great articles; some very good; a few not so much. In all; though; it is a worthwhile glimpse of jazz artists from the past. It is worth reading for those who want to get a sense of the personalities of a variety of people; but dont want the in depth perspective that more fleshed out profiles would have provided. It could be labeled superficial by those expecting too much. Again it is a series of magazine articles.35 of 37 people found the following review helpful. A FINE COLLECTION OF JAZZ INTERVIEWS FROM 75 YEARS OF DOWNBEATBy Stuart JeffersonLarge format;soft cover;with the articles/interviews arranged in chronological order;starting in the 1930s through the 2000s. The soft cover is substantial and would hold up to some wear. There is no index;so the 350 or so pages of interviews/overviews is pretty much true. This is another fine collection of interviews/articles published in conjunction with DOWNBEAT MAGAZINE;the "bible" of jazz. The focus is on jazz artists in the DOWNBEAT Hall of Fame. Frank Alkyer-publisher;and Ed Enright-editor of DOWNBEAT have chosen wisely for this 75th anniversary publication. While some long-time readers of the magazine;or jazz listeners may quibble over the omission of a favorite artist/artists;the many featured musicians in this book give a fine overview of both jazz from its (arguable beginning);and as a history of DOWNBEAT MAGAZINE.Following the publication;in conjunction with DOWNBEAT MAGAZINE;of the fine "The Miles Davis Reader";a number of years ago;this collection takes in most of the greatest names in jazz;past and present. While many more musicians could have been included;the artists here form a solid foundation of jazz. From jazzs beginnings;featured artists such as W.C. Handy;Louis Armstrong;Jelly Roll Morton;Duke Ellington (1930s);through Woody Herman;Glenn Miller; Billie Holiday; T-Bone Walker;Stan Kenton;Lester Young;Dizzy Gillespie;Charlie Parker (1940s);into the 1950s with Les Paul;Chet Baker;Lennie Tristano;Oscar Peterson;John Coltrane;Roy Eldridge;to Joe Williams;Ornette Coleman;Paul Desmond;Bill Evans;Art Tatum;Ella Fitzgerald;Thelonious Monk;Miles Davis;Muddy Waters (1960s);to "Cannonball" Adderley;Roland Kirk;Charles Mingus;Tom Waits;Frank Zappa;WEATHER REPORT;Stevie Wonder (1970s);to Freddie Hubbard;Brian Eno;Tony Williams;Keith Jarrett;Carla Bley;Henry Threadgill;Carlos Santana (1980;s);to Joe Henderson;Stephane Grapelli;Joshua Redman;Van Morrison;Joni Mitchell;Betty Carter;Steve Lacy (1990s);through Tony Bennett;Hank Jones;Dave Brubeck;James Brown (2000s);and many;many more;together present the history of jazz.The many black and white (and few color) photographs;many not seen for years;adds depth and emphasis to the thoughts of these artists. Sprinkled throughout are (small) color reproductions of DOWNBEAT covers from various years. The opinions on jazz in the articles and a few "Blindfold Tests";(different from the interviews);by musicians from the period;are interesting and attest to the aches and pains jazz went through (and is still going through);with a number of dissenting opinions and criticisms (read both 60s articles by "Cannonball" Adderley and Charles Mingus concerning Ornette Coleman as an example) on the course and future of jazz.This is a book that could sit on anyones jazz shelf. For someone new to jazz;theres much information which would lead to some great jazz listening. For the long-time jazz listener/reader;this book is a compendium of jazz history;in chronological order;which reinforces why we listen to jazz in the first place. DOWNBEAT MAGAZINE has done a fine job delving into its vast archives;something they alone are uniquely qualified to do. In bringing together the history of a true American musical genre;through the thoughts of the very musicians who created (and are still creating) so much fine music;into one collection;is certainly a worthwhile endeavor. DOWNBEAT has done it.