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Landmark · Gros-Caillou (7th), by the Seine near the quai Branly · 7e arrondissement

Auguste Rodin's studios at the Dépôt des Marbres

The buildingDemolished
Getting inOutside only
What's there nowNothing survives

A former site. The Dépôt des Marbres is gone and no Rodin studio survives here for the public to see; the ground is now within the Musée du quai Branly block.

The state marble depot on the rue de l'Université where Auguste Rodin worked from 1880 until his death in 1917 — first in atelier M, later in ateliers H and J. It was his principal Paris studio, and where The Gates of Hell was developed. The compound is gone.

Address
182 rue de l'Université (historical); the site is now around 216 rue de l'Université, 75007 Paris
Years
Rodin's principal working base, 1880 to 1917
IllustrationBright present-day view of the planted Musée du quai Branly block on rue de l'Université

A current-site reconstruction near modern no. 216; the exact studio position is not established.

Editorial illustration

The place, briefly

In 1880 the French state commissioned Auguste Rodin to design a monumental doorway for a projected museum of decorative arts — the commission that became The Gates of Hell — and assigned him a workshop to do it in. The workshop was at the Dépôt des Marbres, the state's marble depot on the rue de l'Université, then numbered 182.[1]

He never gave it up. The Musée Rodin's research describes the depot as his principal studio: he began in atelier M, which he shared with the sculptor Joseph Osbach, and later obtained ateliers H and J as well. He kept these workshops until his death in 1917 — thirty-seven years.[2]

So the division of Rodin's Paris is clear enough. The Hôtel Biron from 1908 is where he lived, received, and arranged his own museum. This is where he actually worked, for most of his career, in state-owned sheds among other people's marble.[3]

It was also where people came to find him. Rainer Maria Rilke, who later worked as his secretary, visited him at 182 rue de l'Université in 1902.

Nothing survives, and the address needs care. The depot's historical number 182 was renumbered 216, and the site now falls inside the block occupied by the Musée du quai Branly. Modern 182 rue de l'Université is a different point on the same street — a genuine trap for anyone mapping this from an old source.[4]

The coordinate here marks the former compound, not a doorway. Where exactly ateliers M, H and J stood within it is not established, and this page does not pretend otherwise.

Key facts

What it was
The Dépôt des Marbres, the French state's marble depot
Rodin's use of it
His principal Paris studio from 1880 until his death in 1917
Which studios
First atelier M, shared with the sculptor Joseph Osbach; later ateliers H and J
What was made here
The Gates of Hell, among the major commissions
The address trap
Historical no. 182 was renumbered 216 — modern no. 182 is elsewhere on the street
Where the site is now
Within the Musée du quai Branly block
Who visited
Rainer Maria Rilke, in 1902, before becoming his secretary
The pin
Compound centroid, accurate to roughly 100–150 m — not a workshop door
The approximate former compound within the Musée du quai Branly block today; no atelier survives.Editorial illustration
A current-site reconstruction near modern no. 216; the exact studio position is not established.Editorial illustration
Historically informed reconstruction of the state marble depot and its utilitarian studio sheds around 1900.Artistic reconstruction
The documented workshop type in natural color; exact shed positions, workers and activity are interpretive.Artistic reconstruction
A busy studio reconstruction using only newly invented studies, assistants and tools.Artistic reconstruction
A plaster-storage and enlargement room reconstructed from the depot's documented working methods.Artistic reconstruction
A period carving-room reconstruction; the assistants and sculpture are wholly invented and do not depict Rodin or a known work.Artistic reconstruction

Timeline

  1. 1880

    The state commissions the doorway that becomes The Gates of Hell and assigns Rodin a workshop at the Dépôt des Marbres, 182 rue de l'Université.

  2. 1880s

    He works in atelier M, shared with the sculptor Joseph Osbach, and later obtains ateliers H and J.

  3. 1902

    Rainer Maria Rilke visits him at 182 rue de l'Université.

  4. 1908

    Rodin takes rooms at the Hôtel Biron — where he lives, while continuing to work here.

  5. 1917

    Rodin dies, having kept these workshops to the end.

On the map

Questions before you go

Where did Rodin actually work?

At the Dépôt des Marbres, the state marble depot on the rue de l'Université, from 1880 until his death in 1917. He began in atelier M, shared with the sculptor Joseph Osbach, and later took ateliers H and J as well. The Hôtel Biron, which became his museum, is where he lived from 1908 — the working life happened here.

Why does the address change from 182 to 216?

The street was renumbered. The depot stood at historical no. 182 rue de l'Université, which the Archives nationales identify as today's no. 216. Modern no. 182 is a different point on the same street, so anyone mapping this from an old source will land in the wrong place.

Is anything left to see?

No. The compound is gone and the site now falls within the Musée du quai Branly block. No Rodin studio survives here for the public. The map marks the former compound to within about 100–150 metres, not a surviving building or a workshop door.

What was made here?

The Gates of Hell, among other major commissions — the doorway the state commissioned in 1880 and which Rodin worked on for the rest of his life without finishing. The Thinker was lifted out of it and enlarged.

Art and film tied to this place

Auguste Rodin's monumental bronze Gates of Hell in the Musée Rodin garden in Paris, covered with falling and twisting human figures beneath The Thinker and The Three Shades

Made here

The Gates of Hell

Auguste Rodin · Conceived 1880–circa 1890; Paris bronze cast 1928

The state commissioned the doorway in 1880 and assigned Rodin a workshop at the Dépôt des Marbres to make it in. He worked on it there for the rest of his life and never finished it.

People who knew this place

Illustrated portrait of Auguste Rodin

Auguste Rodin

French · Sculptor

Assigned a workshop at the state marble depot in 1880 alongside the commission that became The Gates of Hell. He began in atelier M, shared with the sculptor Joseph Osbach, later took ateliers H and J, and kept them until his death — thirty-seven years, and his principal place of work throughout.

Within walking distance

References

References

The sources below include histories, archival materials, scholarly research, and official records that informed this page. They document Auguste Rodin's studios at the Dépôt des Marbres, the people connected to it, and its place in Paris.

  1. 1↑The Gates of Hell — S.01304

    Website
    Musée Rodin, 2026
    Used for

    Web source consulted for documented facts and historical context presented on the Auguste Rodin's studios at the Dépôt des Marbres page.

    View source
  2. 2↑Rodin's studios at the Dépôt des marbres

    Website
    Musée Rodin
    Used for

    The museum's research on the depot as Rodin's principal studio: atelier M shared with Joseph Osbach, the later ateliers H and J, and his retention of them until 1917.

    View source
  1. 3↑Auguste Rodin: 1840–2015 chronology

    Website
    Musée Rodin, 2026
    Used for

    Web source consulted for documented facts and historical context presented on the Auguste Rodin's studios at the Dépôt des Marbres page.

    View source
  2. 4↑Dépôt des marbres — records of the state marble depot, rue de l'Université

    Archive
    Archives nationales (France)
    Used for

    The Archives nationales identify the Dépôt des Marbres at historical no. 182 rue de l'Université as today's no. 216 — the renumbering this page depends on.

    View source
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Why these sources are here

These references provide the documented foundation for this page's history and context. Claim-level citations remain attached to the specific claims they support.

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