Explore the Ugolino in The Gates of Hell of this artwork.
Ugolino's episode in the Divine Comedy had a great impact on Rodin. In the early models of The Gates of Hell, Ugolino's representation is already an important theme, one of the first two episodes from Dante's poem to be interpreted as sculptures. The first studies show how Rodin's first intention was to show the Count in a vertical position like Carpeaux. In his final version, however, Ugolino is shown in a horizontal position, perhaps to reinforce the inhumanity of his action. He's found on his knees, leaning to the front with a desperate gesture and an open mouth. Rodin made his piece distinct from Carpeaux's and so achieved a unique artwork with strong dramatic tones.: 280  The sculpture was enlarged by Henri Lebossé between 1901 and 1904. This version presents several differences with the small model. Even though the French government asked for a bronze cast, this was only done after the artist's death and is found today (2016) at the gardens of Musée Rodin at the south side of the Hôtel Biron.In The Gates of Hell, Ugolino's group is found on the lower half of the left door: 170  in such a way that it's not possible to observe the fourth child next to Ugolino's right leg. This is considered one of several examples of The Gates not having a single, unique perspective to be viewed from.
French right Musée Rodin The Gates of Hell Divine Comedy Hôtel Biron left