Rodin traveled to Italy in 1875, and returned to France having been greatly influenced by Michelangelo. Almost immediately after his return to France, Rodin created a figure of Adam to understand the art of Michelangelo. He was not satisfied with this work, however, as it was too exact a copy of Michelangelo's sculpture, and in the end he destroyed it. When he began formulating his ideas for The Gates of Hell, Rodin decided to place monumental figures on either side of the gates. He decided that Adam and Eve, the originators of mankind's Original Sin, were the most appropriate figures to place in these positions. Rodin used Caillou, a strong artist known as the "Iron Jawed Man," as the model for his depiction of Adam. One of The Three Shades who stand on top of The Gates of Hell has the same upper body as Adam, but is shown in a less twisted and deformed form, exhibiting an overall calm demeanor. The Three Shades were probably created in the process of creating Adam. The image of Christ in the Pièta by Michelangelo in the Florence Cathedral can be clearly seen as an influence on Adam's physique and form. Also, we can imagine Adam's fingers receiving life from God in The Creation of Adam in the Sistine Chapel ceiling frescos, in the expression of the fingers on Adam's right hand. When a plaster cast of this work was exhibited in the 1881 Salon, it was called The Creation of Mankind. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 131)


  • Title: Adam
  • Date Created: 1881 (model)
  • Location Created: France
  • Signatures, Inscriptions, and Markings: Signed right side of base: Rodin; Foundry mark right back of base: Alexis. Rudier / fondeur. Paris
  • Sculptor: Auguste Rodin
  • Provenance: Kojiro Matsukata; Sequestered by the French Government, 1944; Returned to Japan, 1959.
  • Physical Dimensions: w760 x h1980 x d840 mm
  • Object title (Japanese): アダム
  • Object notes (Japanese): 1875年、イタリアに旅行したロダンは、ミケランジェロに大きな影響を受けて帰国した。帰国後間もなく、彼はミケランジェロの芸術を理解するために一体の《アダム》を制作したが、あまりにも直接的なミケランジェロ彫刻の模倣であったため満足せず、これを打ち壊してしまった。《地獄の門》の構想過程において、ロダンは門の両脇に巨像を立てる着想を得た。そしてその二つの像は、人類の祖であり人間の業苦の根源である原罪を犯したアダムとエヴァが最もふさわしかった。ロダンは制作にあたってカイユーという名の「鉄の顎をもつ男」と呼ばれた力技の芸人をモデルに使った。《地獄の門》の上に立つ《三つの影》は、《アダム》とそっくりの姿に見えるが上体は《アダム》ほど捩じまげられてはおらず、全体にやや穏やかである。《三つの影》は《アダム》の制作過程に生まれたのであろう。アダムの肉体と姿勢にはミケランジェロのフィレンツェ大聖堂の《ピエタ》のキリストから受けた影響がはっきりと現われている。また右手の指の表現は、システィーナ礼拝堂天井画の「アダムの創造」の神から生命を与えられるアダムの指を想起させる。1881年のサロンにこの石膏像が出品された時、これは《人類の創造》と呼ばれていた。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 131)
  • Artist Name (Japanese): ロダン、オーギュスト
  • Type: Sculptures
  • Rights: Matsukata Collection, http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Bronze

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