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It links the immediacy of looking to wider historical context, including the work’s creation, controversy, early exhibitions, and subsequent acquisition by Leeds Museums and Galleries. Special attention is given to the cast’s vivid colour and weather-driven patina, and to how material transformation shapes meaning and 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does the author begin from a personal encounter with Rodin’s sculpture?","Question",{"text":113,"@type":114},"The author was “startled” by seeing the cast in Leeds and describes the encounter as vivid, beautiful in colour and surface, and transformative—so the essay begins from first-hand looking rather than fixing a single meaning.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"What historical information does the introduction include?",{"text":118,"@type":114},"It outlines the sculpture’s documentation, its completion in 1875–76, early controversy around alleged naturalism and casting methods, Rodin’s age and circumstances, and the later purchase and pivotal reception.",{"name":120,"@type":111,"acceptedAnswer":121},"How does the cast’s patina affect the experience and interpretation?",{"text":122,"@type":114},"The weather exposure produces a drizzled, green patina described as a shimmering surface and an uncontrolled transforming surplus, influencing what the sculpture is understood to mean and how it is experienced.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},415085,1790836888,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":145,"read_time":146},2336478945635,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","CASTING THE DIE |DAVID WARD  \n# CASTING THE DIE\n\n‘THE AGE OF BRONZE'IN LEEDS  \nDAVID WARD  \nCentre for the Study of Sculpture |Henry Moore Institute  \nFOR B.  \n# 'WORKS OF ART’Rainer Maria Rilke\n\nPERHAPS IT WAs always like this.Perhaps there always was a vast,alien expanse betweenan epoch and the great art which it produced.Perhaps works of art were always as lonelyas they are today,and perhaps fame was never anything more than the embodiment ofallthe misunderstandings which gather round a new name.There is no reason to supposethat things were ever any different.For what distinguishes works of art from all otherobjects is the fact that they are,so to speak,things of the future,things whose time hasnot yet come.  \nOur lamps have finally become far-sighted,our instruments reach beyond tomorrowand the day after,with the methods of research we extract coming centuries from thefuture and make them into a kind of not-yet-begun present.Science has unfolded like along road with no discernible end;the hard and painful progress of mankind,both ofindividuals and the masses,fills the coming millennia like some endless,laborious task.  \nAnd far,far beyond all that lies the home of works of art,those strangely secretiveand patient objects,which have their existence among the things of everyday use,amongbusy human beings,working beasts and playing children.  \n-R.M.R.'Kunstwerke',Sämtliche Werke in zwölf Bänden,vol.Io  \n# INTRODUCTION\n\nON A VISIT to Leeds in November I994,I was startled to see Rodin's ‘The Age ofBronze'in Leeds City Art Gallery.This was for two reasons,firstly,I simply had no ideathat it was there.That in itself was a surprise,but secondly I was overwhelmed by thevividness of this cast,the beauty of its colour and surface and the intensification of myprevious experience of the sculpture that this brought about.  \nThe impact of this encounter became the basis of a proposal for a Henry MooreInstitute Research Fellowship at Leeds.  \nThis book is the result of the Fellowship that I was fortunate to receive,and I offermy sincerest thanks to Penelope Curtis and all those at the Henry Moore Institute forcreating a context,a community and an oasis of time and space in which I could look andthink,and think to look again.  \nMy thanks also go to Fiona Russell and,as always,to Shona Illingworth.  \nEARLY IN I995,Leeds Museums and Galleries acquired \"The Age of Bronze'.Com-pleted in I875-76,it had been Rodin's sole object of attention for I8 months of con-centrated work prior to the controversy that surrounded the first exhibition of the workin Belgium,at the Cercle Artistique de Bruxelles in I877.Certain critics,disturbed bythe apparent naturalism of the sculpture,accused Rodin of casting directly from the body,a claim hotly contested by Rodin who intended this work to be seen as a tour de force ofhis modelling skills  \nRodin was 36 years old when this sculpture was made.He was living in Belgium,since no work was to be had assisting established sculptors in Paris due to the collapse ofthe French economy as a result of the Franco-Prussian war.Rodin fostered every ambitionthat this life-size work would establish his reputation and reverse his fortunes as an artist;that it would be recognised as what is now referred to as a breakthrough.Following hisprotracted defence of the work after its turbulent reception when it was subsequentlyexhibited at the Paris Salon in 1877,the French Government eventually purchased a castin 1880 and the sculpture did come to perform the pivotal role that Rodin intended.  \n# SHOCKING PLEASURES\n\nI AM WRITING about this sculpture because it stopped me in my tracks.I thought thatI knew the work,having looked closely at other casts of it,many times,over many years.But unexpectedly seeing this beautifully stained cast for the first time was a strange,movingand shocking pleasure.I felt that I was seeing the sculpture for the first time,or rather,actually seeing the sculpture anew.  \nIn this essay I reflect on my experi","cbCaifzJ2JjvQ2f1","https://ap.wps.com/l/cbCaifzJ2JjvQ2f1","pdf",2321281,36,"English","# INTRODUCTION\n## SHOCKING PLEASURES","[{\"question\":\"Why does the author begin from a personal encounter with Rodin’s sculpture?\",\"answer\":\"The author was “startled” by seeing the cast in Leeds and describes the encounter as vivid, beautiful in colour and surface, and transformative—so the essay begins from first-hand looking rather than fixing a single meaning.\"},{\"question\":\"What historical information does the introduction include?\",\"answer\":\"It outlines the sculpture’s documentation, its completion in 1875–76, early controversy around alleged naturalism and casting methods, Rodin’s age and circumstances, and the later purchase and pivotal reception.\"},{\"question\":\"How does the cast’s patina affect the experience and interpretation?\",\"answer\":\"The weather exposure produces a drizzled, green patina described as a shimmering surface and an uncontrolled transforming surplus, influencing what the sculpture is understood to mean and how it is experienced.\"}]","CASTING THE DIE - Introduction | PDF",1790599959,55]