03 — ARTWORK
Fugit Amor
- MEDIUM
- Marble, 61 x 105 x 43 cm
- TYPE
- Other
PALETTE
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- FILE
- 1400 × 1223 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
A few of the many compositions included in The Gates of Hell evolved into the masterpieces that still symbolize Rodin's geniusin classical Rome, a person's invisible tutelary god. In art from the classical period onwards, the low-ranking god was depicted as a winged, usually childish figure. today. These are The Thinker, The Kiss, and Ugolino. In addition to these major works, a few other figures populating The Gates of Hell deserve mention, such as the centaurs, mythological creatures that became demons, and who were charged with guarding and torturing looters, tyrants, and murderers. Rodin also produced human figures that would in turn take on an independent life: one man was transformed into a free-standing figure known as The Falling Man, who was then combined with The Crouching Woman to become I Am Beautiful, while his enlarged torso would become Marsyas. The group titled Fugit Amor would be elaborated in several versions, the man becoming, on his own, The Prodigal Son.
Alone, at the foot of the right pilasterA flat, low-relief decorative strip on a wall that corresponds to a column in its parts, since, it has a base, a shaft, and capital. It is often fluted, in other words the surface is lined with parallel grooves., is the solitary image of a bearded old man, The Creator, Rodin's self-portraitThe Roman portrait bust survived in the form of life-sized reliquaries of saints, but it was in 15th century Florence that the individual features and character of a contemporary sitter were accurately recorded by sculptors such as Donatello, Desiderio da Settignano, Mino da Fiesole and the Rossellino. A similar degree of realism occurs in 15th century tomb sculpture. The equestrian portrait, based on antique statues such as the Marcus Aurelius monument (Rome, Campidoglio), was revived in the 14th century. Two examples in fresco are Simone Martini's Guidoriccio (c. 1328; Siena, Palazzo Pubblico) and the posthumous portrait of Sir John Hawkwood (1436; Florence, Cathedral) by Uccello, which gives the illusion of a 3-dimensional statue seen from below. The Venetian Republic ordered imposing monuments from Donatello (1447; Gattarnelata, Padua) and Verrocchio (14799; Colleoni, Venice), whilst other statesmen ordered their own images to be erected in public places, directly relating themselves to the military heroes of ancient Rome. Another form of political portraiture derived from antiquity was the commemorative portrait medal designed by artists such as Pisanello. The carved or painted profile portrait became popular in the 1450s. The realism of the clear, flattened image, painted under the influence of Flemish examples by the Pollaiuolo brothers, Piero della Francesca and Botticelli, was superseded by the three-quarter and frontal portrait, psychologically more complex, such as Leonardo's enigmatic Mona Lisa (Paris, Louvre) with her momentary smile or Andrea del Sarto's arresting Portrait of a Man (London, National Gallery). The 16th century portrait became generalized, Lotto's Andrea Odoni (1527; Royal Collection) being an idealized concept of a collector rather than an individual. Group portraits, decorating whole rooms, include the narrative scenes of the Gonzaga court painted by Mantegna (completed 1474; Mantua, Palazzo Ducale) and the elaborate schemes commissioned by the Farnese family in Rome from Vasari (1546; Palazzo della Cancelleria) and Salviati (after 1553; Palazzo Farnese). Portraits were also incorporated into religious narratives, as in Ghirlandaio's fresco cycle painted for Giovanni Tornabuoni in S. Maria Novella, Florence (1486-90). that could be considered the artist's signature, like medieval masters he has included himself in his work.
CITE THIS RECORD — BIBTEX
@online{wga-r5b9a3198afba3c,
author = {Krén, Emil and Marx, Daniel},
title = {Fugit Amor by RODIN, Auguste},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/rodin-auguste-r3d20d909489aff/fugit-amor-r5b9a3198afba3c},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
