In 1909 the composer Gustav Mahler and the sculptor Auguste Rodin, arguably the greatest composer
and the greatest sculptor of the time, met in Paris. Both were transitional figures in their respective
fields, representing the end of an era in their creative work. Their respective legacies nevertheless also
inaugurated new ideas and inspired younger composers and sculptors. Rodin sculpted two portraits
of Mahler, one of which — in pure white marble — is the main focus of the article. The refinement and
beauty of this work is different from Rodin's male portraits in that the head is stylised like many of
his female portraits, an ambiguity compounded by the fact that Alma Mahler, the composer's wife,
wrote in her memoirs that Rodin fell in love with his model during the sittings. An understanding of
the marble bust calls for an analysis of the life and work of the composer, fraught with ambiguities - as
reflected in that superb portrait.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:tut/oai:encore.tut.ac.za:d1000803 |
| Date | 04 April 2008 |
| Creators | Mare, EM, Steyn, C |
| Publisher | South African Journal of Art History |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Text |
| Format | |
| Rights | South African Journal of Art History |
| Relation | South African Journal of Art History |
Page generated in 0.0018 seconds