上个世纪,法国雕塑大师罗丹获得世界声誉的作品,以单独雕像为多。如《思想者》、《青铜时代》,著名的肖像则有《雨果》、《巴尔扎克》等等。群像就更少了,《加利义民》是经常为人们所提及的。至于大型纪念碑式的浮雕,人们都知道的《地狱之门》,则没有发表的条件,最后被日本铸铜保存下来,这真是一出历史“悲剧”。 罗丹的大弟子布德尔更加关心与建筑环境相结合的大型雕塑,在艺术上也有较高的突破。但事实上,他的理想也并没有充分表达的条件,存世的 In the last century, the French sculptor Rodin won the world reputation for his works, with more individual statues. Such as “thinker”, “Bronze Age”, the famous portrait there are “Hugo”, “Balzac” and so on. There are even fewer group images, and the “Gurim” is often mentioned by people. As for the large memorial-type relief, people all know the “hell’s door”, then published conditions, and finally preserved by Japanese bronze, which is really a history “tragedy.” Rodin’s great disciple, Boolean, is more concerned with the large-scale sculpture that is integrated with the built environment and has a higher artistic breakthrough. However, in fact, his ideal did not fully express the conditions for survival