{"id":531984,"date":"2026-04-01T07:30:00","date_gmt":"2026-04-01T05:30:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=531984"},"modified":"2026-04-01T10:48:23","modified_gmt":"2026-04-01T08:48:23","slug":"rilke-rodin-gianadda","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/arts-visuels\/rilke-rodin-gianadda\/","title":{"rendered":"Rilke and Rodin, two geniuses"},"content":{"rendered":"\n<p class=\"has-drop-cap\"><strong>Retour sur la rencontre d\u00e9cisive du po\u00e8te Rainer Maria Rilke avec le sculpteur Auguste Rodin, alors que la Fondation\u00a0Gianadda\u00a0proposera d\u00e8s cet \u00e9t\u00e9 une exposition consacr\u00e9e \u00e0 ces deux artistes majeurs \u00e0 l&#8217;occasion des 100 ans de la mort de Rilke.<\/strong><\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Rilke a 27 ans lorsqu\u2019il rencontre Rodin (62 ans) \u00e0 Paris; il s\u2019y rend afin de s&#8217;acquitter d&#8217;une commande qu\u2019un \u00e9diteur allemand lui avait adress\u00e9e, une monographie de l\u2019immense sculpteur. Rodin est connu,\u00a0et son succ\u00e8s en Europe et en Allemagne est retentissant.\u00a0Rilke,\u00a0qui se destine depuis plusieurs ann\u00e9es \u00e0 l\u2019\u00e9criture,\u202fest d\u00e9sargent\u00e9;\u00a0il conna\u00eet\u00a0d\u00e9j\u00e0\u00a0Rodin par sa femme\u00a0qui fut elle-m\u00eame une \u00e9l\u00e8ve du sculpteur;\u00a0il\u00a0lui \u00e9crit, lui d\u00e9voile son projet\u00a0d\u2019essai\u00a0dans un fran\u00e7ais encore maladroit, et\u00a0se rend chez\u00a0lui \u00e0 Meudon. Ainsi,\u00a0c\u2019est en\u00a0septembre\u00a01902 que ces deux\u00a0repr\u00e9sentants de la modernit\u00e9 artistique\u00a0se retrouvent. Cette ann\u00e9e-l\u00e0, Rilke\u00a0va\u00a0peindre avec une finesse in\u00e9gal\u00e9e la figure du sculpteur et composer un hymne \u00e0 son travail. Il\u00a0va\u00a0entrouvrir la porte de l\u2019Enfer, lui le po\u00e8te des Anges, et les deux artistes vont s\u2019influencer l\u2019un l\u2019autre de mani\u00e8re profonde.<\/p>\n\n\n\n<p>Dans\u00a0cet\u00a0essai\u00a0publi\u00e9\u00a0en langue allemande\u00a0en 1903, le po\u00e8te \u00e9crit:\u00a0\u00abL\u2019artiste est celui \u00e0 qui il revient, \u00e0 partir de nombreuses choses, d\u2019en faire une seule et, \u00e0 partir de la moindre partie d\u2019une seule chose, de faire un monde.\u00bb Si ce constat s\u2019adresse \u00e0 tout artiste, il s\u2019adresse particuli\u00e8rement \u00e0 Rodin. On ne\u00a0d\u00e9ambule\u00a0pas longtemps au milieu de ses statues sans constater la mani\u00e8re dont les corps sont trait\u00e9s;\u00a0il leur manque des bras, des t\u00eates,\u00a0des jambes,\u00a0ou alors des mains sont isol\u00e9es\u00a0et semblent autonomes. En fait,\u00a0il n\u2019y manque rien de n\u00e9cessaire,\u00a0tant l\u2019\u00e9nergie et la vie de ce qu\u2019on voit appellent ce qu\u2019on devine.\u00a0Car la force de Rodin est telle que le regard et la\u00a0pens\u00e9e\u00a0du spectateur transpercent la face\u00a0tumultueuse\u00a0de la pierre\u00a0ou\u00a0du bronze pour scruter l\u2019int\u00e9rieur des corps, \u00e0 telle enseigne qu\u2019il\u00a0n\u2019a nul besoin de ces membres inexistants en surface.\u00a0La r\u00e9demption provient du regard int\u00e9rieur,\u00a0de l\u2019amplification de ces objets soudain devenus grands,\u00a0et ce souffle, \u00e0 partir d\u2019une seule chose, comme l\u2019\u00e9crit Rilke,\u00a0refait un monde.<\/p>\n\n\n\n<p>Chez Rodin, la vie surgit partout, dans le d\u00e9sir\u00a0comme\u00a0dans la peine, avec\u00a0cette\u00a0impatience\u00a0qui s\u2019\u00e9veille sous la baguette du sourcier; la vie danse dans les corps, entre les corps aussi. Le sculpteur la lib\u00e8re de la mati\u00e8re,\u00a0mais c\u2019est gr\u00e2ce \u00e0 cette mati\u00e8re qu\u2019une lib\u00e9ration est possible, gr\u00e2ce \u00e0 cette substance et au g\u00e9nie de l\u2019artiste.\u00a0C\u2019est ce corps-\u00e0-corps qui fait surgir la beaut\u00e9. Rilke\u00a0parle avec passion des s\u00e9ances de travail auxquelles il a assist\u00e9 et il\u00a0comprend le\u00a0labeur\u00a0de Rodin, mais il sait aussi que le po\u00e8te ne peut pas \u00e9crire tous les jours contrairement \u00e0 ce que fait le peintre ou le sculpteur. Il y a de longues p\u00e9riodes arides, d\u00e9courageantes, et l\u2019\u00e9crivain doit mettre en \u0153uvre un assaut constant contre les r\u00e9sistances.\u00a0Cependant,\u00a0dans l\u2019atelier de Rodin,\u00a0il apprend que la facilit\u00e9\u00a0demeure\u00a0insuffisante \u00e0 la cr\u00e9ation, il y faut en plus un travail acharn\u00e9 pour faire\u00a0remonter des profondeurs l\u2019essence des choses\u00a0et le sens de la vie. Or Rilke a une grande facilit\u00e9\u00a0\u00e0 \u00e9crire:\u00a0il \u00e9crit plus de po\u00e8mes\u00a0durant\u00a0les vingt-cinq premi\u00e8res ann\u00e9es de sa vie que dans les vingt-cinq\u00a0derni\u00e8res. Et c\u2019est chez Rodin qu\u2019il comprend comment combattre la facilit\u00e9.\u00a0Il y a donc dans son \u0153uvre un avant et un apr\u00e8s Rodin.<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\"\nvalue=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBm\nNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5;\npadding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-\nsize:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid\n#E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error\nspan.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight:\nnormal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block;\nbackground-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\">\n<h4>NEWSLETTER DU REGARD LIBRE<\/h4> <span>Recevez nos articles chaque dimanche.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Votre inscription \u00e0 notre infolettre hebdomadaire a \u00e9t\u00e9 enregistr\u00e9e avec succ\u00e8s !<\/h4> <p>\n<a href=\"#\" class=\"inf-btn\">&laquo;<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\"\nplaceholder=\"Email\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"S\u2019inscrire\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>Rilke va devenir le secr\u00e9taire\u00a0particulier\u00a0du\u00a0statuaire\u00a0irascible, ce qui lui permet quotidiennement de s\u2019interroger sur l\u2019isolement des statues de Rodin par rapport au monde environnant. Solitude habit\u00e9e, celle qu\u2019il retrouvera \u00e0\u00a0Muzot\u00a0(au-dessus de Sierre)\u00a0lorsqu\u2019il s\u2019y installera en 1921.\u00a0Rilke observe que Rodin ne travaille pas directement devant le mod\u00e8le, mais essentiellement \u00e0 partir du mat\u00e9riau qu\u2019il a emmagasin\u00e9 dans sa m\u00e9moire. Dirons-nous qu\u2019en mati\u00e8re artistique il vaut mieux avoir vu que voir?\u00a0L\u2019oubli est une condition n\u00e9cessaire au souvenir. Voil\u00e0 ce que Rilke \u00e9crit dans les\u00a0<em>Carnets de Malte<\/em>\u00a0\u00e0 propos de la po\u00e9sie:\u00a0\u00abLes vers ne sont pas faits, comme les gens le croient, avec des sentiments (ceux-l\u00e0, on ne les a que trop t\u00f4t) \u2013 ils sont faits d\u2019exp\u00e9riences v\u00e9cues. [&#8230;] Et il n\u2019est pas encore suffisant d\u2019avoir des souvenirs. Il faut pouvoir les oublier, quand ils sont nombreux, et il faut avoir la grande patience qu\u2019ils reviennent. Car les souvenirs ne sont pas encore ce qu\u2019il faut. Il faut d\u2019abord qu\u2019ils se confondent avec notre sang, avec notre regard, avec notre geste, il faut qu\u2019ils perdent leurs noms et qu\u2019ils ne puissent plus \u00eatre discern\u00e9s de nous-m\u00eames.\u00bb\u00a0Le mat\u00e9riau\u00a0artistique\u00a0n\u2019est pas\u00a0l\u2019image conserv\u00e9e, mais l\u2019image revenue de l\u2019oubli\u00a0par quelque myst\u00e9rieux processus.\u00a0Cette\u00a0revenance\u00a0inconsciente\u00a0et douloureuse\u00a0parce qu\u2019incontr\u00f4l\u00e9e\u00a0de l\u2019image telle que la subit le po\u00e8te ne s\u2019accomplit donc pas sur le mode heureux qu\u2019il avait imagin\u00e9 \u00e0 propos de Rodin:\u00a0la laideur surgit tout comme la mort\u00a0et l\u2019angoisse\u00a0qui viennent r\u00e9clamer leur d\u00fb,\u00a0mais\u00a0qu\u2019il faut sublimer \u00e0 force de travail,\u00a0souvent en marge de la cr\u00e9ation joyeuse. Voil\u00e0 sans doute l\u2019exp\u00e9rience\u00a0d\u00e9plaisante\u00a0qu\u2019il fait de Paris.\u00a0\u00abParis, cette fois, a \u00e9t\u00e9 exactement ce que j\u2019attendais:\u00a0difficile\u00bb,\u00a0\u00e9crit-il\u00a0\u00e0 Lou Andreas-Salom\u00e9.<\/p>\n\n\n\n<p>Rilke aura apport\u00e9 \u00e0&nbsp;Auguste&nbsp;Rodin sa finesse d\u2019observation, son \u00e9l\u00e9gance raffin\u00e9e&nbsp;et sa plume pour d\u00e9fendre l\u2019\u0153uvre critiqu\u00e9e&nbsp;souvent,&nbsp;ainsi que des attaques&nbsp;contre&nbsp;Rodin&nbsp;lui-m\u00eame qui&nbsp;jouissait&nbsp;pourtant&nbsp;d\u2019une immense notori\u00e9t\u00e9;&nbsp;par ses \u00e9crits laudatifs et son admiration,&nbsp;il \u00e9cartait&nbsp;les b\u00e2tons dans les roues.&nbsp;Rodin dessinait et modelait.&nbsp;Comme d\u2019autres sculpteurs, il confiait ensuite l\u2019ex\u00e9cution sur marbre \u00e0 des tiers qu\u2019il dirigeait (Camille Claudel sculptait \u00e0 sa place&nbsp;ainsi que&nbsp;bien d\u2019autres&nbsp;assistants),&nbsp;car il estimait que l\u2019art \u00e9tait avant tout une \u0153uvre de l\u2019esprit.&nbsp;Il r\u00e9alise le pl\u00e2tre que le praticien traduit dans le marbre,&nbsp;mais en se pliant \u00e0 son style&nbsp;et \u00e0 son caract\u00e8re. Son atelier est en r\u00e9alit\u00e9 une ruche avec plusieurs dizaines de praticiens&nbsp;qu\u2019il dirige.&nbsp;Il produit abondamment et il r\u00e9pond \u00e0 de multiples commandes des quatre coins du monde.&nbsp;Certains envieux&nbsp;l\u2019ont violemment attaqu\u00e9 sugg\u00e9rant m\u00eame qu\u2019il \u00e9tait incapable de sculpter lui-m\u00eame la pierre.&nbsp;<\/p>\n\n\n\n<p>La correspondance,&nbsp;qui s\u2019\u00e9tend de 1902 \u00e0 1913 o\u00f9 s\u2019entretissent deux voix,&nbsp;est r\u00e9v\u00e9latrice des caract\u00e8res&nbsp;des deux hommes:&nbsp;la voix de Rilke, subtile,&nbsp;admirative&nbsp;et parfois obs\u00e9quieuse, et c\u2019est la voix du haut; celle de Rodin, plus rauque,&nbsp;concise, grave et c\u2019est la voix du bas.&nbsp;Pour tous deux,&nbsp;c\u2019est le plein vent de la cr\u00e9ation qui apporte l\u2019espace.&nbsp;<\/p>\n\n\n\n<p>Une brouille\u00a0vient\u00a0s\u00e9parer les deux\u00a0amis, puis une r\u00e9conciliation. Ayant renou\u00e9, c\u2019est Rilke qui\u00a0am\u00e8ne\u00a0d\u00e8s 1908\u00a0le\u00a0\u00abMa\u00eetre\u00bb\u00a0\u00e0 l\u2019h\u00f4tel\u00a0de\u00a0Biron pour s\u2019y installer, superbe b\u00e2timent\u00a0qui deviendra\u00a0par la suite\u00a0le mus\u00e9e Rodin.\u00a0La fascination de Rilke pour les arts visuels doit beaucoup \u00e0 sa femme Clara.\u00a0Il\u00a0fait la connaissance de\u00a0nombreux peintres,\u00a0dont\u00a0Paul Klee.\u00a0Plus tard,\u00a0\u00e0\u00a0Muzot,\u00a0il sera attentif\u00a0\u00e0 Balthus\u00a0et \u00e0 ce talent naissant. Rodin,\u00a0de son c\u00f4t\u00e9,\u00a0mesure peu \u00e0 peu l\u2019importance\u00a0de la photographie dont le potentiel artistique ne lui \u00e9chappe pas.\u00a0Il n\u2019est pas rare de voir dans\u00a0ses\u00a0grandes\u00a0expositions se c\u00f4toyer marbre et photos.\u00a0A leur mort, en 1917 puis en 1926 pour Rilke, l\u2019Europe\u00a0de l\u2019apr\u00e8s-guerre\u00a0est entr\u00e9e de plain-pied dans le r\u00e8gne de l\u2019image.<\/p>\n\n\n\n<p>Il m\u2019arrive, lorsque les ombres des deux cr\u00e9ateurs s\u2019allongent dans le soir, de songer au destin des deux femmes\u00a0passionn\u00e9es par l\u2019art de sculpter:\u00a0Clara\u00a0Westhoff, l\u2019\u00e9pouse d\u00e9laiss\u00e9e de Rilke,\u00a0et Camille Claudel, la ma\u00eetresse\u00a0volcanique\u00a0de Rodin.\u00a0Toutes deux voulaient mettre des ailes aux blocs de marbre,\u00a0mais on trouvait\u00a0inconvenant,\u00a0\u00e0 cette \u00e9poque,\u00a0qu\u2019une femme travaill\u00e2t\u00a0\u00e0 partir d\u2019un mod\u00e8le nu.\u00a0Les deux hommes\u00a0pensaient\u00a0conna\u00eetre les\u00a0femmes,\u00a0de fait\u00a0ils en connurent de nombreuses,\u00a0mais\u00a0ils\u00a0ne savaient rien du f\u00e9minin.\u00a0Et puis, la vie de famille ne convenait pas \u00e0 un\u00a0\u00eatre\u00a0aussi vagabond que Rilke,\u00a0et Clara n\u2019aura pas eu la reconnaissance qu\u2019elle m\u00e9ritait\u00a0en vertu du\u00a0r\u00f4le important\u00a0qu\u2019elle a jou\u00e9\u00a0dans cette histoire. Elle fut l\u2019\u00e9veilleuse aupr\u00e8s d\u2019un\u00a0mari peu vers\u00e9\u00a0au d\u00e9but\u00a0dans le monde des\u00a0arts plastiques.\u00a0Clara\u00a0Westhoff\u00a0avait du talent.\u00a0Quant \u00e0 Camille Claudel, avec la force qui la caract\u00e9rise, elle impressionna\u00a0le Ma\u00eetre imm\u00e9diatement. Une complicit\u00e9 artistique, une fusion\u00a0des \u00e2mes,\u00a0les unit et elle,\u00a0surdou\u00e9e,\u00a0devint indispensable au travail en atelier. Rodin\u00a0\u00e9crit:\u00a0\u00abMademoiselle Claudel est devenue mon praticien le plus extraordinaire, je la consulte en toute chose.\u00bb\u00a0C\u2019est elle qui\u00a0quitta\u00a0Rodin\u00a0apr\u00e8s dix ann\u00e9es de passion commune, elle voulait exister seule,\u00a0mais\u00a0la\u00a0s\u00e9paration\u00a0troubla\u00a0son esprit et\u00a0elle ne parvint pas \u00e0 trouver\u00a0l\u2019autonomie\u202f; elle\u00a0fut\u00a0intern\u00e9e\u00a0trente ans\u00a0dans un asile psychiatrique.\u00a0Camille Claudel avait du g\u00e9nie.<\/p>\n\n\n\n<p><strong>\u00abRodin\u00a0selon\u00a0Rilke\u00bb, exposition \u00e0 voir du 26 juin au 22 novembre 2026 \u00e0 la\u00a0Fondation\u00a0Gianadda, \u00e0 Martigny (VS).<\/strong><\/p>\n\n\n\n<p><em>Ancien pr\u00e9sident du Grand Conseil genevois,\u00a0<\/em><strong><em>Jean\u00a0Romain<\/em><\/strong><em>\u00a0est \u00e9crivain.<\/em><\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-vous-venez-de-lire-un-commentaire-inedit-en-libre-acces-debats-analyses-actualites-culturelles-nbsp-abonnez-vous-nbsp-a-notre-media-de-reflexion-pour-nous-soutenir-et-avoir-acces-a-tous-nos-contenus\">Vous venez de lire un commentaire in\u00e9dit en libre acc\u00e8s. D\u00e9bats, analyses, actualit\u00e9s culturelles:&nbsp;<a href=\"https:\/\/leregardlibre.com\/abonnement\/\">abonnez-vous<\/a>&nbsp;\u00e0 notre m\u00e9dia de r\u00e9flexion pour nous soutenir et avoir acc\u00e8s \u00e0 tous nos contenus.<\/h6>\n","protected":false},"excerpt":{"rendered":"<p>A look back at poet Rainer Maria Rilke's decisive encounter with sculptor Auguste Rodin, as the Fondation Gianadda presents an exhibition devoted to these two major artists this summer, to mark the 100th anniversary of Rilke's death.\u00a0<\/p>","protected":false},"author":411,"featured_media":531985,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[85539],"tags":[42773189,14831,644341680],"class_list":["post-531984","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-visuels","tag-fondation-gianadda","tag-poesie","tag-sculpture"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Rilke et Rodin, deux\u00a0g\u00e9nies<\/title>\n<meta name=\"description\" content=\"Retour sur la rencontre de Rilke avec Rodin, alors que la Fondation Gianadda proposera une exposition consacr\u00e9e \u00e0 ces deux artistes majeurs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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