MICHEL-ANGE RODIN CORPS VIVANTS

MICHELANGELO AND RODIN. Living bodies

April 15, 2026 July 20, 2026

Two names, two monuments of art history: Michelangelo and Rodin. The Hand of God, The Dying Slave, The Kiss, The Gates of Hell... Three centuries apart, these works embody the same conviction: the human body as a place of expression for all the forces of the soul.

French Art

Sculpture Bourgeois de Calais Auguste Rodin

RF005959
Hand patinated reproduction. Mold made from a print of the original work on display at the Rodin Museum.

This reduction of one of the six figures of the Bourgeois of Calais monument can be dated from the years 1895-1899.

While in the group, the statue of Pierre de Wissant has a role of plastic stopper, his reduced and separate statuette is particularly well suited to him.
The elegance of the gesture expresses pain and despair. The tragic nature is accentuated by the drape of the shirt which envelops the body.

The Boulogne-sur-Mer Museum copy, acquired in 1902 by the industrialist Charles Lebeau, has the same characteristics as the plaster model preserved at the Musée Rodin in Paris, in particular the broken rope on the shirt's indentation.
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Two names, two monuments of art history: Michelangelo and Rodin. The Hand of God, The Dying Slave, The Kiss, The Gates of Hell... Three centuries apart, these works embody the same conviction: the human body as a place of expression for all the forces of the soul.

The Louvre Museum is hosting an exhibition bringing together marbles, bronzes, plasters, terracottas, casts, and a rich graphic production in an unprecedented confrontation between these two geniuses. Behind the obviousness of their technical mastery is revealed a common intensity, that of sculpture conceived not as an art of form, but as a living laboratory.

The exhibition is divided into five sections: Two Mythical Artists, Nature and Antiquity, Non finito, Body and Soul, Energy and Life, and traces the deep links that unite these two bodies of work: acknowledged influences, borrowings from antiquity, and daring diversions. It is an invitation to see sculpture in a different light, as a space for questioning and invention that resonates far beyond their century.

L'esclave mourant. Musée du Louvre © Hervé Lewandowski
L'âge dairain. Musée Rodin © Christian Baraja
L'esclave rebelle. Musée du Louvre © Hervé Lewandowski
La Cathédrale. © The Philadelphia Museum of Art, Dist. GrandPalaisRmn
Adam. Musée Rodin © Christian Baraja
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