top of page

Conceived in 1882, cast between 1917 and 1918

Tête de la Luxure [Head of Lust]

Auguste Rodin (1840-1917)

Height

37.3 cm

Inventory Number

Bronze with a rich dark green, black and brown patination

Materials

Marks & Inscriptions

RCG0019

Signed A. Rodin with repeat raised interior signature. Inscribed Alexis Rudier Fondeur Paris.

Images

Conceived in 1882, this example was cast between 1917 and 1918. Although this is a rare sculpture, it is unknown exactly how many bronzes were made.

The present bust is taken from Crouching Woman, which was one of the earliest figures Rodin modelled for The Gates of Hell. The full figure is often compared with Michelangelo’s Crouching Youth, which Rodin likely knew from reproductions.

The Model for Crouching Woman was Adèle, who was immortalized in the Torso of Adèle and later in one of Rodin’s most renowned and sensuous works, Eternal Spring.

In the present bust, the face appears almost in profile with the neck almost at right angles as the model’s head hangs languorously to her right. A similar effect can be seen in Meditation, Caryatid a l’Urn and The Shade, all of which were modelled during the same period.

As was often the case when the sculptor amended or reused parts of an existing sculpture, here Rodin makes no attempt to disguise the slab-like panel on the right cheek where the woman’s head had formerly lain against her leg. In doing so the work not only takes on a new identity away from the body, but also becomes a manifestation of the very sculptural process that created it.

Openning Hours

10:00am – 6:00pm

Location

The Arkın Clock Tower - Arkın Group Headquarters

Conceived in 1882, this example was cast between 1917 and 1918. Although this is a rare sculpture, it is unknown exactly how many bronzes were made.

The present bust is taken from Crouching Woman, which was one of the earliest figures Rodin modelled for The Gates of Hell. The full figure is often compared with Michelangelo’s Crouching Youth, which Rodin likely knew from reproductions.

The Model for Crouching Woman was Adèle, who was immortalized in the Torso of Adèle and later in one of Rodin’s most renowned and sensuous works, Eternal Spring.

In the present bust, the face appears almost in profile with the neck almost at right angles as the model’s head hangs languorously to her right. A similar effect can be seen in Meditation, Caryatid a l’Urn and The Shade, all of which were modelled during the same period.

As was often the case when the sculptor amended or reused parts of an existing sculpture, here Rodin makes no attempt to disguise the slab-like panel on the right cheek where the woman’s head had formerly lain against her leg. In doing so the work not only takes on a new identity away from the body, but also becomes a manifestation of the very sculptural process that created it.

Images

bottom of page