Many of Rodin's works are characterized by their intense realism. His human figures were sculpted with such precision that he was accused of making casts of live models during his lifetime. This was the case with the 1877 sculpture "The Age of Bronze," which was unveiled at the Paris Salon. Part of Rodin's realism is attributable to the fact that Rodin considered himself a student of nature and made copious sketches and observations of his surroundings.
Another defining characteristic of Rodin's mastery was his ability to convey the inner emotions of his subjects through outward appearances. A subject's inward state could be expressed through various textures and surfaces. In this sense, he differed from the classical ideal of uniform and smooth surfaces. Additionally, Rodin spent considerable care in sculpting the faces of his subjects and rendered eyes and facial expressions with extreme attention to detail.
Besides striving for realism in his sculptures, Rodin also sought to convey movement. For Rodin, movement was attained by constant revision of both his sketches and molds. He wanted his figures to exude energy and motion. In this sense, the sculpture would come to life for the viewer instead of being an inanimate object. Movement was also conveyed, like emotion, through the uneven application of materials so that the surface of his sculptures seemed to fluctuate.
Perhaps Rodin's greatest achievements were not his innovations in the medium but the sculptures themselves. Possibly his most celebrated work would be the "The Thinker" from 1902. As of the time of publication, "The Thinker" is located in the Musee Rodin in Paris. Another legendary work is his bronze statue of the French novelist Honore de Balzac, which was completed in 1897. "The Gates of Hell," a project Rodin worked on for more than 30 years, illustrates various scenes from Dante Alighieri's medieval poem "The Inferno."