Working at the turn of the 20th century, Auguste Rodin broke the rules of classical sculpture to create an image of the human body that mirrored the ruptures, complexities and uncertainties of the modern age.
This major exhibition is the first to focus on the importance of plaster in his work. Although Rodin is best known for his bronze and marble sculptures, he himself worked as a modeller, who captured movement, light and volume in pliable materials such as clay and plaster.
This presentation evokes the atmosphere of the artist’s studio. Plasters casts in all sizes show how he continually experimented with fragmentation, repetition and joining existing parts in unconventional ways. Some of his best-known works were influenced by this process, including The Burghers of Calais, which is represented here by the newly restored original plaster.
With the process of making at its heart, the exhibition also considers the complex dynamics of the workshop, as well as between the artist and his models and collaborators, including fellow sculptor Camille Claudel, the Japanese actress Ohta Hisa, and the German aristocrat Helene Von Nostitz.
The realisation of this landmark exhibition is possible due to a unique collaboration with the Musée Rodin, who have offered Tate unprecedented access to their collection. It features over 200 works, many of which have not been seen outside of France before.
The EY Exhibition: The Making of Rodin is presented in the Eyal Ofer Galleries. The exhibition is part of The EY Tate Arts Partnership. With additional support from the Rodin Exhibition Supporters Circle and Tate Patrons. Organised by Tate Modern and Musée Rodin, Paris.
Curated by Nabila Abdel Nabi, Curator International Art, Tate Modern, Chloé Ariot, Curator for Sculpture, Musée Rodin, Paris, Achim Borchardt-Hume, Director of Exhibitions and Programmes and Helen O’Malley, Assistant Curator, Tate Modern
Please read our safety guidelines below before you visit.
Tate Modern's entrance is via the Turbine Hall on Holland Street. There are automatic sliding doors and a ramp down to the entrance.
The Exhibition is on Level 2 of the Blavatnik Building. There are lifts to every floor of the Blavatnik and Nathalie Bell buildings. Alternatively you can take the stairs.
- Fully accessible toilets are located on every floor on the concourses.
- A quiet room is available to use in the Natalie Bell Building on Level 4.
- Ear defenders can be borrowed from the Ticket desks.
For more information before your visit:
Visitor numbers are being carefully managed to ensure that your visit is as safe and comfortable as possible. There are increased cleaning regimes in high use areas and protective screens on desks and counters. We are only accepting card or contactless payments and have installed hand sanitiser dispensers throughout the gallery.
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For more information take a look through our frequently asked questions.