Rodin

Known since ancient times for its whiteness and hardness, marble is the noblest of materials
statuary in academic tradition. Because this matter is full of prestige
Greco-Roman sculture is considered the most difficult to work , Greco-Roman sculture is what desinge “ real
sculptors'” and raises many orders of museums as wealthy collectors.
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Unlike Michelangelo and ancient Greek sculptors he admires so much, Rodin never
practiced direct carving, a working method in wich the sculptor execute directly
the project in the stone, without a model, releasing from the block statue he imagine.
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in the 19 century, the sculptor is more a modeler than a stonemason. He model
land to get a figure that, molded in plaster is presented as a model for his
employees ( more like people that work with him), directors and practitioners points must then reproduce it as faithfully as
possible in the marble block

the metter au point has to Reducing the dimensions of the box model, to 2 or 3 cm of the surface of the volume transmitter's task is developed
on desired surface. He works with a three-point compass attached to the original plaster
with which he notes all the reliefs of the surface. The compass is then transferred to the
marble and suspended three identical points that correspond to statements of the plaster model.
He cuts the stone until the needle drops at the same depth as the original.
Sometimes the director point should be 3000-4000 points for preparing
a figure in the work of final size. The needle leaves marks and it is not uncommon to
see traces in the form of small holes in tRodin's marbles he often decided to
let the marble slightly higher than the volume of the plaster

While technology development machine is used for cutting
big marbles, the technique of the three compass is also used for
enlargements and reductions.

The praticien, meanwhile, is working to give the marble the exact form of the original cast. It is
often an excellent sculptor putting its expertise to serve a master for a living.
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Over time, Rodin gave its practitioners, not model modeled in clay, but
assembly of pre-existing works, a sketch or a description of the work to achieve a more
true model. The shape of the block used and the personality of the practitioner had a role to play
but Rodin exercised a constant supervision of the practitioner and wanted to have with his practitioner a very narrow
collaboration. Practitioners, such as Escoula, Peter Turcan, Desbois, Pompon, Bourdelle, Despiau and
many others have folded the style of Rodin at the expense of their own personality