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Iris, Messenger of the Gods (French: "Iris, messagère des Dieux") (sometimes known as Flying Figure, or Eternal Tunnel) is a bronze sculpture by Auguste Rodin. A plaster model, created between 1891 and 1894, was cast in bronze by Fonderie Rudier at various times from about 1895. Iris is depicted with her right hand clasping her right foot and ...
Iris, Messenger of the Gods: 1891 Bronze National Museum of Art, Architecture and Design, Oslo 83.5 x 85 More images: Balzac in the Robe of a Dominican Monk: 1892 Bronze Museo Soumaya, Mexico City 106.4 × 38.5 × 50.8 More images: Monument to Balzac: 1892 to 1897 Bronze Musée Rodin 270 x 120.5 More images: Youth Triumphant: 1894 Bronze ...
Notable examples are The Walking Man, Meditation without Arms, and Iris, Messenger of the Gods. Rodin saw suffering and conflict as hallmarks of modern art. "Nothing, really, is more moving than the maddened beast, dying from unfulfilled desire and asking in vain for grace to quell its passion."
The following other wikis use this file: Usage on ar.wikipedia.org إريس كانتور; Usage on de.wikipedia.org Wikipedia:WikiProjekt Frauen/Frauen in Rot/Fehlende Artikel nach Tätigkeit/Kunstsammlerinnen
Standing Mercury is a bronze sculpture by French artist Auguste Rodin, first exhibited in 1888.Rodin depicts the mythological god Mercury, son of Maia and Jupiter—messenger of the gods and guide to the Underworld—as a young man, representing eloquence and reason.
Between 1884 and 1886 Rodin made nude studies of the six personalities. He then draped them with damp canvas. In this way, he wanted to better reproduce how the human figures looked clothed in sackcloth. Before the final sculpture, Rodin made two models and a study of Jacques de Wissant. He also sculpted a left hand. [1] [2]
In ancient Greek religion and mythology, Iris (/ ˈ aɪ r ɪ s /; EYE-riss; Ancient Greek: Ἶρις, romanized: Îris, lit. 'rainbow,' [2] [3] Ancient Greek:) is a daughter of the gods Thaumas and Electra, [4] the personification of the rainbow and messenger of the gods, a servant to the Olympians and especially Queen Hera.
It was one of many studies arising from Rodin's reading of Ovid's Metamorphoses, here drawing on Book XIV, 1-74. [1] It adds a female figure to the male figure from Seated Old Man in order to represent the myth of Glaucus and Scylla, [2] meaning that it departs from the original myth in that both figures have human not monstrous legs.