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39°57′43″N 75°10′26″W / 39.962°N 75.174°W / 39.962; -75.174

The Rodin Museum is an art museum located in Philadelphia, Pennsylvania that contains one of the largest collections of sculptor Auguste Rodin's works outside Paris. Opened in 1929, the museum is administered by the Philadelphia Museum of Art. The museum houses a collection of nearly 150 objects containing bronzes, marbles, and plasters by Rodin.[1]

Key Information

In 2012, the museum re-opened after a three-year, $9 million renovation that brought the museum back to its original vision of displaying Rodin's works.[2][3]

History

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The Thinker, a statue by Auguste Rodin outside the museum

The museum was a gift of movie-theatre magnate Jules Mastbaum (1872–1926) to the city of Philadelphia. Mastbaum began collecting works by Rodin in 1923 with the intent of founding a museum. Within three years, he assembled the largest collection of Rodin's works outside Paris, including bronze castings, plaster studies, drawings, prints, letters, and books.

In 1926, Mastbaum commissioned French architects Paul Cret and Jacques Gréber to design the museum building and gardens. He died before the museum was complete, but his widow, Etta Wedell Mastbaum honored his commitment and the Museum opened on November 29, 1929. Murals in the museum were executed by the painter Franklin C. Watkins.

Collection

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The best-known of Rodin's works, The Thinker (1880–1882), sits outside the museum in the entry courtyard. Visitors once entered through a cast of The Gates of Hell, located at the main entrance to the museum, which is no longer used. This massive 5.5-m-tall bronze doorway was originally created for the Museum of Decorative Arts (which was to have been located in Paris but never came into existence). Rodin sculpted more than 100 figures for these doors from 1880 until his death in 1917. This casting is one of the three originals; several others have been made since. Several of his most famous works, including The Thinker, are actually studies for these doors which were later expanded into separate works.

The museum's several rooms house many more of the artist's works, including The Kiss (1886), Eternal Springtime (1884), The Age of Bronze (1875–76), and The Burghers of Calais, a monument commissioned by the City of Calais in 1884.

In 2019, the Rodin museum mounted a two-year[4] special exhibition titled Rethinking the Modern Monument, curated by Alexander Kauffman, which paired 16 works from the Philadelphia Museum of Art with selected Rodin sculptures.[5] The special exhibition featured bronze sculptures by Jean Arp, Barbara Hepworth, Jacques Lipchitz, Marino Marini, Chana Orloff, and Alberto Giacometti, among others.[6]

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References

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Rodin Museum

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The Rodin Museum (French: Musée Rodin) is a prominent art museum in Paris, France, dedicated to the life and works of the renowned sculptor Auguste Rodin (1840–1917), housing the world's largest collection of his sculptures, drawings, photographs, and related archives.[1] Located at 77 Rue de Varenne in the 7th arrondissement, near Les Invalides, the museum occupies the elegant 18th-century Hôtel Biron, a rococo mansion built in 1732 by architect Jean Aubert, which Rodin himself rented as a studio from 1908 onward.[2] Opened to the public on August 4, 1919, following Rodin's donation of his collection to the French state in 1916, the museum preserves and displays over 33,000 works, including approximately 6,774 sculptures in various media such as bronze, marble, and plaster, alongside 7,970 drawings and 10,756 photographs.[2][3] The museum's collections encompass Rodin's major masterpieces, such as The Thinker (positioned prominently in the gardens), The Kiss, The Cathedral, and The Gates of Hell, alongside pieces by his student and collaborator Camille Claudel, offering insights into late 19th- and early 20th-century artistic innovation and Rodin's influence on modernism.[4][5] Housed across 18 rooms in the Hôtel Biron, the indoor galleries emphasize Rodin's creative process through original plasters, assemblages, and historical documentation exceeding 60,000 manuscripts and letters from over 8,000 correspondents.[5] Complementing the interiors, the expansive 3-hectare sculpture garden—redesigned in the 21st century—features monumental outdoor installations amid themed landscapes, blending art with nature and attracting over 700,000 visitors annually.[1] As a self-funding institution under the French Ministry of Culture, the Musée Rodin also maintains a secondary site at Rodin's former villa in Meudon, open weekends and focusing on his plaster workshops and personal artifacts, while upholding strict moral rights over reproductions limited to 12 casts per sculpture.[6][7] The museum's dual mission of conservation and public access has solidified its status as one of Paris's most visited cultural sites, fostering ongoing exhibitions, research, and educational programs that highlight Rodin's revolutionary approach to form, movement, and the human figure.[1]

History

Founding and Acquisition

Jules E. Mastbaum (1872–1926) was a prominent Philadelphia philanthropist and movie theater magnate who played a pivotal role in establishing the Rodin Museum. Born in 1872, he graduated from the Wharton School of the University of Pennsylvania and co-founded Mastbaum Brothers and Fleisher in 1901, later leading the Stanley Company of America to become one of the largest theater operators in the United States by the mid-1920s.[8] Mastbaum's fascination with Auguste Rodin's sculptures began early, inspired by the artist's works displayed at the 1876 Centennial Exposition in Philadelphia, where Rodin first gained American attention.[8] Mastbaum's serious collecting began during a 1923 trip to Europe, when he acquired a bronze Hand from Rodin's studio in Paris, marking the start of his obsession with the sculptor's oeuvre. He returned in September 1924, visiting the newly opened Musée Rodin and purchasing a small bronze bust, which fueled rapid acquisitions over the following two years. By 1926, he had gathered over 200 sculptures—including bronzes cast during Rodin's lifetime, marbles, and plasters sourced directly from the artist's Paris studio—as well as more than 600 drawings, forming the foundational collection for the museum.[8][9] In a notable exchange, the French government gifted Mastbaum six of Rodin's original plasters in appreciation for his funding of restorations at the sculptor's Meudon home and studios.[9] He also commissioned new bronze casts to enhance the ensemble, such as the first full-scale version of The Gates of Hell in 1925 and a monumental The Thinker for the museum's entrance, completed posthumously in 1928.[10][8] In April 1926, with his collection nearly complete, Mastbaum formally proposed to the commissioners of Fairmount Park the creation of a dedicated public museum along the Benjamin Franklin Parkway, pledging to build and endow it for the free study and enjoyment of Philadelphians.[8] Tragically, Mastbaum died on December 7, 1926, at age 54, before construction began. His widow, Etta Wedell Mastbaum, and their three daughters steadfastly carried forward the project, ensuring the museum opened to the public on November 29, 1929, with the original bequest of approximately 200 works as its core.[8][11]

Construction and Opening

In 1926, Jules E. Mastbaum commissioned the French-born architects Paul Philippe Cret for the museum building and Jacques Gréber for the landscape design, selecting them for their expertise in the Beaux-Arts style and prior work on Philadelphia's Benjamin Franklin Parkway.[8] Following Mastbaum's sudden death on December 7, 1926, construction nonetheless proceeded on the site at 2151 Benjamin Franklin Parkway, with groundbreaking occurring shortly thereafter under the oversight of his widow, Etta Mastbaum, and their three daughters.[12][8] The project, funded entirely by Mastbaum's estate at a cost of approximately $2 million, was completed in 1929.[13] The Rodin Museum opened to the public on November 29, 1929—just one month after the Wall Street Crash—with a dedication ceremony attended by dignitaries including French Ambassador Paul Claudel.[8] Initial administration fell to the Fairmount Park Commission, which entered into an agreement that same year transferring ongoing management to the Philadelphia Museum of Art.[14] The museum drew strong early interest, attracting 390,000 visitors in its first year despite the onset of the Great Depression, which soon reduced attendance; operations were sustained through the funding provided by Mastbaum's bequest.[8] In the decades following, the museum underwent periodic updates, including major interior renovations in the 1960s that refreshed displays and adapted spaces to evolving curatorial needs. In 2012, following a three-year, $9 million renovation, the museum reopened with its building, gardens, and installations restored to their original 1929 vision.[15] Though the focus remained on preserving the original 1929 vision.[14]

Architecture and Grounds

Building Design

The Rodin Museum's building exemplifies Beaux-Arts architecture, characterized by symmetry, classical motifs, and a harmonious integration with its urban setting along Philadelphia's Benjamin Franklin Parkway.[8] Designed by French architect Paul Philippe Cret in collaboration with landscape architect Jacques Gréber, the structure draws inspiration from French pavilions and evokes the elegance of a classical temple elevated on a high podium.[16] This style, rooted in Cret's training at the École des Beaux-Arts in Paris, simplifies traditional classicism into a modern yet restrained form, emphasizing grandeur without excess.[16] The exterior features a formal limestone facade adorned with colonnades and arched niches specifically crafted to display Rodin's sculptures, such as The Gates of Hell integrated into the portal and The Thinker positioned prominently at the entrance.[16] A central pavilion serves as the focal point, flanked by symmetrical wings that create an inviting approach from the Parkway, while the Meudon Gate adds a nod to French chateau influences like the Chateau d'Issy.[8] These elements ensure the building aligns seamlessly with the neoclassical plan of the Benjamin Franklin Parkway, a project Gréber helped shape.[17] Inside, the layout centers on ground-floor galleries illuminated by skylights to provide natural light for viewing sculptures, with a prominent rotunda accommodating larger works and facilitating fluid circulation.[17] Marble floors and high ceilings in the main spaces allow for flexible placement of monumental pieces, while upper levels house administrative functions, creating an intimate yet impressive environment.[8] Cret's prior experience designing buildings for the University of Pennsylvania informed these adaptations, prioritizing functionality for art display over ornate decoration.[16] The design's emphasis on blending interior and exterior spaces supports the museum's role in showcasing Rodin's work, with niches and openings that connect to the adjacent gardens.[18] As a preserved historic site administered by the Philadelphia Museum of Art since its 1929 opening, the building requires ongoing maintenance, including a planned closure from January 2 to February 20, 2026, for repairs.[8]

Gardens and Landscape

The gardens of the Rodin Museum in Philadelphia encompass a formal French-style landscape designed by architect Jacques Gréber in collaboration with Paul Philippe Cret, featuring axial symmetry, a central allée, a rectangular reflecting pool, pergolas, and walled enclosures that integrate seamlessly with the Beaux-Arts building.[19][20] Opened in 1929 alongside the museum, the approximately 2-acre site emphasizes neoclassical harmony, with symmetrical paths, stone stairs, a wall fountain, and a grove of sycamore trees framing views of the Benjamin Franklin Parkway.[20][21] Key elements include the grand central allée leading to the museum's entrance, arched niches and pedestals along the portico and Meudon Gate for sculpture display, and diverse plantings of roses, evergreens, perennials, lavender, thyme, and yarrow that provide seasonal color and texture while evoking Rodin's interest in natural forms.[19][20] These features create enclosed, intimate spaces that encourage contemplation, with the reflecting pool and pergolas offering shaded respite amid the urban setting.[19][18] The landscape serves as an integral gallery for Rodin's sculptures, hosting eight permanent outdoor installations since 1929, including the iconic The Thinker positioned at the garden's apex overlooking the allée and The Gates of Hell at the entrance gate.[19] Following a major conservation effort, works such as Adam, Eve, The Shade, and The Age of Bronze were repositioned in 2012 to their original 1929 niches along the building's portico and arches, restoring Gréber's intended en plein air presentation.[19][22] Additionally, a monumental version of The Three Shades was installed on the west side as a long-term loan from the Iris and B. Gerald Cantor Foundation, filling a space vacant for over 80 years and completing the sculptural ensemble.[19][23] Over time, the gardens underwent modifications, including a 1963 reconfiguration that relocated several sculptures for improved visitor flow, which was later reversed during the 2009–2012 rejuvenation project led by OLIN Partnership to restore Gréber's original layout and enhance accessibility with ramps and native plantings.[22][18] This multi-phase conservation, part of the Philadelphia Museum of Art's master plan, addressed weathering on stone elements and bronze patinas while amplifying the interplay between architecture, landscape, and sculpture.[24][25] Today, the gardens are open daily from 10:00 a.m. to 5:00 p.m., with extended hours until 8:30 p.m. on Fridays for the seasonal Garden Bar, and they host events such as weddings and private rentals in the tranquil enclosures.[26][27] Accessibility features include wheelchair-friendly paths, free manual and electric wheelchairs available on-site, barrier-free entrances, and ample seating throughout the grounds.[28] The site will close for maintenance from January 2 to February 20, 2026.[19] By juxtaposing Rodin's dynamic human figures against lush, structured greenery, the gardens underscore the artist's exploration of nature's vitality and the human condition, creating an immersive outdoor extension of the museum's collection.[8][29]

Collection

Scope and Holdings

The Musée Rodin in Paris houses the world's largest collection of Auguste Rodin's works, comprising over 33,000 items including approximately 6,774 sculptures in bronze, marble, plaster, and other media, 7,970 drawings, 10,756 photographs, and extensive archives.[3] This collection comprehensively represents every phase of Rodin's career, from his early realist works in the 1860s–1870s, such as The Age of Bronze, through mature impressionistic explorations in the 1880s–1890s, to his late abstract and fragmented forms up to 1917.[5] The holdings include original plasters, multiples, assemblages, and variants from Rodin's studio, alongside works by contemporaries like Camille Claudel, and historical documentation exceeding 60,000 manuscripts and letters from over 8,000 correspondents.[5] Following Rodin's donation to the French state in 1916, the collection has been enriched through purchases, bequests, and donations, with ongoing acquisitions filling gaps in Rodin's oeuvre and related materials.[5] As a self-funding institution under the Ministry of Culture, the museum enforces strict moral rights, limiting reproductions to 12 casts per sculpture.[7] Works are displayed across 18 rooms in the Hôtel Biron and the 3-hectare garden, organized thematically and chronologically to illustrate Rodin's evolution from naturalistic figures to expressive, movement-focused compositions.[30] Conservation is managed by specialized teams using techniques like X-radiography for authenticity verification and preservation of plasters and bronzes. Recent updates as of 2025 include the reinstallation of the Atelier Rodin to highlight sculptural processes.[31]

Notable Works and Displays

The Musée Rodin in Paris preserves numerous iconic sculptures by Auguste Rodin, showcasing his innovative techniques in capturing emotion, movement, and the human form. A centerpiece is The Gates of Hell, the original plaster modeled between 1880 and 1917, commissioned for a never-built museum and inspired by Dante's Inferno. Featuring over 200 figures in tormented, dynamic poses, it explores themes of suffering and desire, serving as a source for many independent works; displayed indoors in a dedicated room since the museum's opening.[32] The Thinker, conceived in 1880 as a figure atop The Gates of Hell representing Dante, was enlarged to monumental scale in 1902–1904. This 2.1-meter bronze cast symbolizes intellectual struggle through its tense musculature and introspective pose, exemplifying Rodin's impressionistic style; a full-scale version has stood prominently in the garden since 1922, overlooking the landscape.[33] The Kiss, modeled around 1882 from figures in The Gates of Hell, depicts a nude couple in a passionate embrace, carved in marble to convey sensuality and inevitability. This life-size version highlights Rodin's fluid modeling and emotional depth; installed indoors in Room 7, it allows close viewing of its textured surfaces.[34] The Cathedral, created circa 1900, combines two right hands in a gesture of prayer or union, carved in marble to evoke spiritual intimacy and fragmentation. Reflecting Rodin's late interest in partial forms, it is displayed indoors among thematic assemblages.[35] The Burghers of Calais, modeled 1884–1895, portrays six citizens in sacrificial poses during the 1347 siege, cast in bronze to emphasize individual anguish over heroism. Installed in the garden since 1926, the life-size group integrates with the landscape to heighten its dramatic impact.[36] Rodin's late abstraction is seen in The Walking Man, a 1907 bronze torso emphasizing stride and energy without a head or arms. This over life-size figure, displayed in the garden, underscores his focus on universal human movement.[36] Works by Camille Claudel, Rodin's collaborator, include The Waltz (circa 1889–1890), a bronze depicting a dancing couple, critiqued for its intimacy in its era. Housed indoors, it highlights Claudel's independent style and her influence on Rodin.[37] Preservation involves rotations for light-sensitive pieces, such as reinstalling Monument to Balzac (modeled 1891–1898, bronze in garden) during events, and restorations of garden works like The Age of Bronze (1877, bronze indoors). Thematic groupings, including Hell Gate elements in lower rooms, trace Rodin's visionary themes.[30]
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