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f53b2bd
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The key to understanding any people is in its art: its writing, painting, sculpture.
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understanding
people
writing
painting
sculpture
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Louis L'Amour |
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b420487
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What appears in the former statue of Apollo, however, cannot simply be equated with the Olympian of the same name, who had to ensure light, contours, foreknowledge and security of form in his days of completeness. Rather, as the poem's title implies, he stands for something much older, something rising from prehistoric sources. He symbolizes a divine magma in which something of the first ordering force, as old as the world itself, becomes manifest. There is no doubt that memories of Rodin and his cyclopian work ethic had an effect on Rilke here. During his work with the great artist, he experienced what it means to work on the surfaces of bodies until they are nothing but a fabric of carefully shaped, luminous, almost seeing 'places'. A few years earlier, he had written of Rodin's sculptures that 'there were endless places, and none of them did not have something happening in them'. Each place is a point at which Apollo, the god of forms and surfaces, makes a visually intense and haptically palpable compromise with his older opponent Dionysus, the god of urges and currents. That this energized Apollo embodies a manifestation of Dionysus is indicated by the statement that the stone glistens 'like wild beasts' fur'.
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poetry
rodin
sculpture
rilke
thing-poem
dionysus
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Peter Sloterdijk |
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47cbc99
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And looking down on them, the other Londoners, those monsters who live in the air, the city's uncounted population of stone men and women and beasts, and things that are neither human nor beasts, fanged rabbits and flying hares, four-legged birds and pinioned snakes, imps with bulging eyes and duck's bills, men who are wreathed in leaves or have the heads of goats or rams; creatures with knotted coils and leather wings, with hairy ears and cloven feet, horned and roaring, feathered and scaled, some laughing, some singing, some pulling back their lips to show their teeth; lions and friars, donkeys and geese, devils with children crammed into their maws, all chewed up except for their helpless paddling feet; limestone or leaden, metalled or marbled, shrieking and sniggering above the populace, hooting and gurning and dry-heaving from buttresses, walls and roofs.
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sculpture
grotesque
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Hilary Mantel |
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59a4b0b
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One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.
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artists
artists-life
sculpture
artist
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Irving Stone |
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7894aa6
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The statue was of a nude woman playing a slide trombone. It was entitles, enigmatically, Evelyn and Her Magic Violin.
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trombone
violin
statue
nude
sculpture
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Kurt Vonnegut Jr. |
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5b52ea7
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We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.
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rodin
romanticism
ruins
sculpture
rilke
thing-poem
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Peter Sloterdijk |