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I have always felt an affinity for Rodin’s sculpture, even to the point of imagining I was him in a former life. When I first photographed his work, I wandered through the museum that was once his home and studio and quickly photographed his sculptures on four rolls of film.

While we often think of Rodin’s sculpture in light of The Thinker and The Kiss which were massive in size, the major part of his work was quite small; often between five inches and two feet. Using a macro lens, I photographed most of his pieces from two to twelve inches away. It came so easily to me, with a familiarity that transcended the very short time in which I actually viewed his work.

What further amplified my belief of truly knowing him was discovering two aspects about him later on as I began to read anecdotal facts and observations.
For one thing, he would have models walking about his studio and call out at times, “Hold it!”. For another, he was said to be near-sighted, and usually worked inches away from his sculpture. For both of these reasons I could easily imagine him being a photographer.

Having been a photographer for the past sixty years, and a precocious artist as a child, I have allowed myself to make intuitive assumptions about Rodin. I hope the photographs in this treatise support them.

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