ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: What is "The Thinker" actually thinking about? - Noah Charney

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A figure perches, hunched in reflection.

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A figure perches, hunched in reflection.

But this canonical sculpture isn't just contemplation incarnate.

French sculptor Auguste Rodin intended it to represent a specific person— and fit into a much larger piece featuring the fiery pits of Hell— a project that obsessed him during the last decades of his life.

So, who was “The Thinker” and what was he actually thinking?

Rodin's path to renown was rocky.

He grew up in a working-class neighborhood in Paris, applied to the esteemed school of fine arts, and was rejected three separate times.

After several years working as a craftsman, he submitted his first sculpture to Paris’ Salon— and was denied.

It wasn't until 1877, when he was 35 and fresh off a visit to Italy, dazzled by the Renaissance sculptures on display, that Rodin completed his first major work.

However, critics accused him of casting the lifelike sculpture directly from the model.

But he hadn’t, and other artists vouched for him.

As the controversy concluded, however, Rodin drastically shifted his style.

Rather than render academically realistic forms, he began creating rougher, more expressive surfaces.

Advances in camera technology had recently made it possible to capture perfect likeness, but Rodin argued that artistic renderings, though less precise, were more truthful.

Like artists helming the burgeoning movements of Cubism, Abstraction, and Impressionism, Rodin was poised to modernize sculpture, lending new life to classical forms.

And in 1880, he received his life-defining commission: a monumental doorway for a new French museum intended to echo the “Gates of Paradise” by Renaissance sculptor Lorenzo Ghiberti.

Rodin proposed its antithesis: "The Gates of Hell,” a swirling, infernal composition featuring over 200 tormented souls.

It was inspired by Dante Alighieri’s “Inferno,” a 14th-century poetic journey through the nine circles of Hell and its doomed inhabitants’ downfalls.

Rodin began “The Gates” in clay, sculpting small, interlocking figures, his studio filling with fragments to be rearranged, combined, or enlarged as independent works.

Breaking with tradition, he left visible traces of the creative process.

However, the museum was never built.

And the project became a sprawling obsession of endless revision.

But it was one that would yield some of Rodin’s greatest sculptures— individual elements from “The Gates” that were isolated, refined, and scaled up.

Like many artists, Rodin had a team of studio assistants who were talented in their own right.

For “The Gates,” he favored an ancient technique, the lost-wax method, to go from clay to bronze.

For each sculpture, his team made various molds, beginning with plaster and moving into hollow wax replicas they’d coat and heat, melting away the wax, before pouring molten bronze in.

Finally, they’d break the outer shell to reveal the solid metal sculpture within.

Complex compositions were cast in sections and soldered together.

Then, Rodin’s team would finish the surface, applying a chemical patina.

Within “The Gates of Hell,” forms described in Dante’s “Inferno” writhed in sin-struck anguish: lovers Paolo and Francesca grappling eternally in forbidden lust and political traitor Count Ugolino cannibalizing his sons in his final desperate moments.

Rodin also found infernal inspiration in other works, like the carnal themes explored in a poetry collection by Charles Baudelaire.

But above all of this hellish chaos was to be a single seated figure— not just any man, but the author of “Inferno,” Dante, himself, pondering the suffering below, considering human nature’s great pitfalls, the weight bearing down on his fist.

Rodin originally called him “The Poet,” then “The Thinker.” First cast on its own in 1888, “The Thinker” became a sensation.

Out of context, the figure came to be seen less as Dante wrestling with sin and damnation, and more of an everyman; a universal symbol of the human mind’s ability to reflect, doubt, and create; or even France itself, striving to balance its values.

In 1904, a life-sized “Thinker” was installed in public— not overlooking Hell, but crowning a cultural monument.

And it soon became one of the world’s most famous sculptures.

But much as “The Thinker” remains eternally consumed by contemplation, Rodin’s “Gates of Hell” remain unfinished.

Despite 37 years of work, the first bronze cast of “The Gates” was completed nearly a decade after his death.

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