Auguste Rodin (1840-1917), whose commemoration of the centenary of the disappearance, like Monet or Picasso, has known and always knows an indisputable world celebrity.
This phenomenon has continued unabated and is not surprising: Rodin museums were built in the 20th century in the United States, Mexico, Japan, Korea.
In each generation, the public and the artists have positioned themselves in relation to him, sometimes to take the opposite, often to inspire them or to add to an invention, an aspect, a form.
For Rodin has revisited all facets of the art of sculpture, and much more: the invention of assembly, partial figure or collage precedes the practice of Matisse and Picasso, his use of drawing precedes the great Germanic Expressionists, his relation to photography announces those of Brancusi or Man Ray.
It is therefore beyond Rodin, a powerful and virtuoso sculptor, that the Rodin, a pioneering experimenter of new paths, an explorer of unknown artistic lands, is revealed.
At each decisive phase of his career, then, in each generation after his death, a different Rodin is brought to light. These changes in the contemporary view, far from exhausting the artist's work, have allowed each period to enrich its understanding.
It is the ambition of this magnificent work with for each chapter, the evocation of the glance of the sponsors or collectors, and the artists.