Rodin, das Fleisch, der Marmor.

Dieser Titel weckt in mir das spontane und immense Verlangen nach einem gut gebratenem Beefsteak, außen scharf angebraten, innen zart rosa und in der Mitte noch etwas blutig, das ganze mit Salz und Pfeffer gewürzt – ein Genuss. Viele Vegetarier und Veganer, die meinen größten Respekt, aber auch mein Unverständnis haben, werden auf dieses Verlangen eher mit Abscheu oder Ekel reagieren.

Fleisch ist generell ein viel erforschtes und heiß diskutiertes Thema. Isst man es oder isst man es nicht? Und wenn ja, ist zu viel rotes Fleisch ungesund? Wie kann ich mich ausgeglichen ernähren. Aber die entscheidende und meistumstrittene Frage überhaupt: Wie bereite ich ein gutes Stück Fleisch zu? Und wie unterscheide ich im Vorfeld ein gutes von einem weniger guten Stück Fleisch? Mehr oder weniger hilfreiche Tipps und Tricks versuchen uns viele Zeitschriften, Kochsendungen und Bücher zu vermitteln und so ist das Beef-Magazin gar nicht mal verkehrt und vielleicht auch gerade deshalb interessant, weil es seinen ungebrochenen Anspruch auf Männlichkeit bewahrt. Und irgendwie haben die Redakteure damit ja auch recht: Fleisch ist männlich – und die Grillsaison beginnt jedes Jahr am 01. Januar und endet am 31. Dezember.

Aber Fleisch ist ebenso sexy. Ja, Fleisch ist sexy, weil ein pures Genussmittel. Im übertragenen Sinne hat sich hieraus ja auch die Fleischeslust ergeben, die Lust auf das Fleisch des anderen Geschlechts – Sex, Erotik und Leidenschaft sind in dieser Lust inbegriffen. Ob Rodin nun ein Steakliebhaber war, ist schwer zu beurteilen, jedoch lag ihm die Darstellung der Fleischeslust: der Lust am Schauen, der Begierde des Fleisches für das Fleisch. Nackte erotische Körper scheinen aus dem Marmor zu entspringen, entstehen aus ihm, zeigen Leidenschaft in der Bewegung, im Moment des Kusses, in der Umarmung.


Auguste Rodin, Danaid, um 1889.
Marmor, 36 x 71 x 53 cm.
Musée Rodin, Paris.

 

Ob Sie nun Fleischliebhaber, Vegetarier, Veganer oder Frutarier sind, genießen Sie die Skulpturen Rodins – das dem Marmor entwachsende Fleisch – noch bis zum 1. September 2013 im Musée Rodin in der Ausstellung Rodin, la chair, le marbre oder holen Sie sich die Leidenschaft dieses Bildhauers in hochauflösenden Abbildungen mit den verschiedenen Formaten des Verlages Parkstone International nach Hause und entdecken Sie diesen einzigartigen Künstler durch die Augen des großen Dichters Rainer Maria Rilke.

A Life Most Solitary?

The place: Mexico.  The year: Post-1910. Viva la revolución!  Mexico was on the verge of change.  Political instability, the blight of dictatorship, a peasants’ revolt.  If Margaret Mitchell had penned a novel in the midst of such a setting, surely a turbulent love story to equal that of ‘Gone with the Wind’ would have ensued.

We need only look to those well-known Mexican painters Frida Kahlo and Diego Rivera for reference.  I could argue that with events such as the Mexican Revolution fresh in everyone’s minds, passions must have run high.  Actions were no longer as restrained.  The freedoms of speech and desire were rife.

Despite the volatile relationship shared by the painters (both of whom had several extra-marital affairs during their time together), I’m going to go out on a limb and say that Kahlo lived in an isolated world.  A pain-filled existence was all she ever knew from the age of 6, when she contracted polio, leaving her left leg crippled. At 18 she was left with life-long injuries following a severe bus accident, including a perforated abdomen and uterus, which led to three terminated pregnancies in later life.

These experiences, and the pain that followed, must undoubtedly have trapped her in a separate universe from her contemporaries.  What solace she may have been looking for in her relationships and affairs, she truly found in her art.  In her art, she was able to express herself.  In her art, she was able to share her suffering.  In her art, she was able to heal.

 


The Two Fridas, 1939. Oil on canvas, 173.5 x 173 cm, Museo de Arte Moderno, Mexico City 



Many of her paintings are self-portraits, symbolising the solitude that she felt; her own figure and visage being the one that she was most familiar with.  However, in several of her paintings she also references Diego, either as a symbol of love or of pain.

One painting which perhaps best characterises the depth of her feelings for Rivera is ‘The two Fridas’.  A double portrait of herself, it shows the Frida that was rejected by Diego at the time of their divorce.  Her heart has been broken, and is bleeding.  The Frida on the right is the Frida that Diego still loves; her heart is whole, and she is holding a small portrait of Diego in her hand.

Amongst her self-portraits, monkeys are a common feature.  In Mexico, the monkey is a symbol of lust.  Kahlo transformed this conception into one of tenderness.  In her painting ‘Self-portrait with monkeys’ she places four monkeys directly around herself, all with tender expression. Two of the monkeys have their paws over her heart.  We may be able to interpret this as her desire for love, not lust.  She is expressing heartache and a desire for a single commitment of love, most probably from Diego, as this was painted during her second marriage to the artist.


Self-Portrait with Monkeys, 1943. Oil on canvas, 81.5 x 63 cm, Jacques and Natasha Gelman Collection, Mexico City

Whilst perhaps it is a good thing that not all scorned, lovesick, hurting women are artists, or have the ability to pen songs – hello, Taylor Swift – (the world would be left reeling at the amount of pent up angst unleashed!),  I for one am grateful for the artistic talents of Frida Kahlo.  Her honesty is touching, her emotions relatable, and her story compelling.  I read it as inspirational that the solitary pain of one woman has the potential ability to affect and heal the lives of others; through her art, it is possible to understand and come to terms with the realms of human emotion.

 

For a closer look at the turbulent life of Kahlo and Rivera in painting, Canadians rejoice!  The Art Gallery of Ontario, Toronto is hosting an exhibition of their works, as well as several photographs of the couple, from the 20^th October 2012 – 20^th January 2013.  As well as showing their lives together, these combined works also reflect the couple’s interest in the changing values of post-revolutionary Mexico.  For those living a little too far away from the Canadian border, these paintings can also be found in the works by Gerry Souter: Frida Kahlo and Rivera.