The profile
This portrait that he sculpted from memory, without having his model sit for him, aroused incomprehension. Indeed, the work is in clear contrast to the sculptures produced by Rodin, who passed the following judgment on it: "Well, it's a sculpture that might be understood a hundred years from now!"
However, Bourdelle manages to convey the features and imposing presence of Rodin.
Auguste Rodin by George Charles Beresford, sepia-toned platinum print, 1902. NPG x12858. National Portrait Gallery, London © National Portrait Gallery, London – 2019
The beard
The long beard cascades onto the chest, masking the plinth upon which the head is set. The tool marks, left visible, give density and movement to the beard.
The horns
Bourdelle wanted to convey the image of a hero of sculpture, depicting him as a bearded colossus, powerful and venerable. To that end, he gave him features directly inspired by the Moses sculpted by Michelangelo in 1515. The horns are an ancient feature of the figure of the prophet, resulting from a misreading of the biblical text.
Moses, marble statue by Michelangelo, 1513-1513. Church of San Pietro in Vincoli, Rome © Creative commons. Photographer: Jörg Bittner Unna - 2011
The signature on the back
Bourdelle met Rodin in 1893, and worked for him as an assistant until 1909. He was assigned the task of enlarging the models sculpted by Rodin. He dedicated this work to Rodin.