Auguste Rodin ” The Modern Michelangelo” An extraordinary creative master of his time, Auguste Rodin is commonly accepted by many art critics and historians as the most prominent portraitist sculptor of the modern era. Born in 1840’s Paris, France, Rodin broke new ground in sculpture with his ability to capture and represent the true nature of human emotion and physical form.His compositions were not concerned with that of distinguished expression but instead with that of human ethos and sentiment. The intent of his work was to exhibit the manifestation of man’s despair and inner emotions through muscular movement, as well as the idea of realism being obtained through the use of emphasis and distortion . Rodin’s works were by quick sketches in clay that were later fine-tuned, cast in plaster, and forged into bronze or carved in marble. He again challenged sculptural ideas of the time by often leaving his figures in varying states of completion, leaving them rough and unpolished which the artist believed expressed movement better. He also often reused and recycled his compositions in new ways. He would in addition often represent the same figure multiple times in the same sculpture to create a strange and jarring effect. However, though today Rodin’s works are widely celebrated, they were loudly criticized by the audiences of his time. His great respect for but artistic rebellion against traditional art ideas and form and us of innovative and new artist methods and practices were often considered as too informal, lacking in heroic attributes or too true to live form, therefore different from qualities exception of sculpture at the time. At the time of Rodin’s career , The Salon was the dominant and ruling committee of art. When Rodin’s work The age of Bronze was exhibited at the Cercle Artistique, Brussels, in 1877, at the Salon in Paris, it caused a scandal and Rodin was accused of surmoulage an artistically unfavorable practice of taking a casting straight from a subject rather than creating an original compostion from scratch. Rodin was extremely dishearten and offended by these accusations , so submitted photographs that were taken of the model to the press to prove the ways in which sculpture was disimular.