First modelled by Rodin in 1884, this example was cast in June 1944 by Rodin’s specified foundry Alexis Rudier, under the authority of the Musée Rodin. 10 casts were made between 1928 and 1946 from a plaster left to the Museum by Rodin on his death in 1917.

An enlarged stone version of this work was exhibited publicly at the Salon des Cent in 1884. However, in 1900 when Rodin erected his own pavilion at the Place de l’Alma to coincide with the Paris Exposition Universelle, he chose to exhibit the original small plaster version of the model on a column. This was then exhibited again in 1902 in Prague. From this original plaster the Museum then produced the 10 bronzes, of which the present example is one.

One of Rodin’s most celebrated works, The Prodigal Son is derived from the larger group Ugolino, which was originally conceived as part of the sculptor’s design for The Gates Of Hell. Specifically, the child to the left of the main figure in Ugolino matches the head and torso of the present work. Rodin later used the reclining figure to create Fugit Amor.

The stone version, sculpted for Rodin by François Pompon in 1894, was originally entitled Child of the Century, the model was however renamed The Prodigal Son in reference to the biblical parable (Luke 15:11- 32). According to the story, a father divides his estate evenly between his two sons. One son uses his inheritance shrewdly; the other squanders his, on wild living. Eventually, the wayward son returns home to his father proclaiming, ‘I have sinned against heaven and against you. I am no longer worthy to be called your son.’ However, rather than rebuke his son, the father instead forgave him and held a great feast in honour of his return.

In this original version of the Prodigal Son we see a figure full of remorse, his outstretched arms showing his plea for forgiveness. ‘I accentuate the lines that best accentuate the state of mind I am interpreting’, the artist told Paul Gsell. ‘I emphasised the protrusions of the muscles which conveyed distress. Here, there... I exaggerated the tendons that mark the fervour of prayer.’

Similar to the artist’s famous proclamation that his Thinker thinks not only with his brain but also ‘with every muscle of his arms, back and legs, with his clenched fist and gripping toe,’ here we see a figure whose every twist, every tendon and muscle conveys that of extreme sorrow and distress.

The moment of return has been portrayed by many artists such as Rembrandt and Brancusi. Many represented the scene with both father and son, Auguste Rodin however only sculpted the son, his tormented body arising from an unworked formless mass.

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