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The Thinker (French: Le Penseur), by Auguste Rodin, is a bronze sculpture depicting a nude male figure of heroic size, seated on a large rock, leaning forward, right elbow placed upon the left thigh, back of the right hand supporting the chin in a posture evocative of deep thought and contemplation. This universally recognized expression of ...
The recent finding of the "thinking" man seems to argue for the existence of a developed ideology of some type in this period, while it is impossible not to refer us to similar timeless types, such as the Karditsa Thinker of the Neolithic era, Thinker from Yehud of the Middle Bronze Age II, [10] or even to the Pensive Christ in modern times. [11]
This list is incomplete ; you can help by adding missing items. (February 2011) The Thinker in front of the Rodin Museum in Philadelphia This is a list of The Thinker sculptures made by Auguste Rodin. The Thinker, originally a part of Rodin's The Gates of Hell, exists in several versions. The original size and the later monumental size versions were both created by Rodin, and the most valuable ...
He is known for such sculptures as The Thinker, Monument to Balzac, The Kiss, The Burghers of Calais, and The Gates of Hell. Many of Rodin's most notable sculptures were criticized, as they clashed with predominant figurative sculpture traditions in which works were decorative, formulaic, or highly thematic .
A good examples of this is the Thinker of Hamangia, a clay figurine produced by the Hamangia culture. Important cultures of the Neolithic era include Starčevo–Körös–Criș, Boian, Gumelnița–Karanovo, and other ones, the most famous and at the same time the most evolved among them in art being the Cucuteni–Trypillia culture. [2]
The Thinker: Portrait of Louis N. Kenton is an oil painting of 1900 by the American artist Thomas Eakins. It is a depiction of the artist's brother-in-law, Louis N. Kenton (1865-1947), and it has been called "one of Eakins's most memorable portraits". [ 1 ]
Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed. Heidegger begins his essay with the question of what the source of a work of art is. The artwork and the artist, he explains, exist in a dynamic where each appears to be a provider of the other. "Neither is without the other.
Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" (the cook is an artist), or "the art of deception" (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives ...