In 1902, a young poet Rainer Maria Rilke met the renowned sculptor Auguste Rodin after taking up an assignment to write about Rodin’s work, an assignment that happened to evolve into artistic mentorship and transform Rilke’s poetry. After their initial meeting in September 1902, Rilke spent four months observing Rodin’s studio work, Three years later, in September 1905, Rilke became Rodin’s secretary, living at his country estate and organising his correspondence. Though Rodin fired Rilke in April 1906 over a misunderstanding about a letter, they reconciled in 1908 when Rodin visited Rilke at an artists’ commune in Paris, whither he later moved himself. The commune’s building would eventually become the Musée Rodin after the sculptor’s death. Those years of their artistic exchange were profoundly influential for both of them, especially for the young poet.
During his time in Rodin’s orbit, Rilke became especially captivated by the sculptor’s treatment of hands. Rodin created hands that existed as isolated and complete body-less sculptures, each with its own story: sleeping, grasping, pleading, grabbing, caressing, expressing despair, reaching for something greater—all with such muscular tension that they seem about to tear themselves apart.