The Honolulu Museum of Art is dismissing complaints by a Florida artist that a traveling exhibit featuring the works of Auguste Rodin contains “forgeries” because they were signed after the eminent French sculptor died in 1917.

The exhibit, “Auguste Rodin: The Human Experience, Selections from the Iris & B. Gerald Cantor Collections,” which opens Thursday and continues through Jan. 10, showcases 33 sculptures, among them the iconic Meditation (with Arms), Torso of the Walking Man and a small-scale version of The Thinker.

Gary Arseneau, a lithographer in Florida who blogs about art authenticity issues, has raised his concerns at every stop where the exhibit has taken up residence. He said that 29 out of the 33 pieces in the Honolulu museum exhibit are bronze reproductions created posthumously between 1925 and 1995. He calls them “second-generation forgeries” and has accused the foundation and museums of misleading the public by displaying works “signed” by Rodin.

“By any legal definition, the dead don’t sign,” he said. “You can’t have a signature applied posthumously and call it a signature. It is, at best, a reproduction of his name.”

Museum Director Stephan Jost said Arseneau’s allegations have no credence and that he lacks understanding of certain aspects of the art world.

“To say that these are forgeries shows a level of lack of awareness,” Jost said. “Rodin created works of art primarily in plaster and clay. Artisans have taken those objects and cast them into bronze. Posthumous casts are very, very common. We shouldn’t assume that later casts are of lesser quality. Almost every major museum has bronzes on view that are posthumous cast.”

They include the Tate in London as well as the Metropolitan Museum of Art in New York, he said.

Jost added that he is thrilled to be able to bring the Rodin exhibit to Honolulu during its three-year national tour. The exhibit is sponsored by the Los Angeles-based Iris & B. Gerald Cantor Foundation.

The Paris-born artist is considered the father of modern sculpture. He donated his works and the artistic rights to France, according to the Musee Rodin, which holds the largest collection of his sculptures and the original plasters used to cast the artworks.

Arseneau, who blogs at garyarseneau.blogspot.com, said the sculptures in the touring exhibit are made from copies of the original plasters. He said he has a letter from Musee Rodin confirming the originals are not used in order to preserve their historical value.

Jost said the Honolulu Museum of Art, which has a Rodin sculpture, The Age of Bronze, on permanent view in its Antiquity and the Body Gallery, said the institution is completely upfront about the originals of sculptures on display.

“We say when the original plaster was made, we say when the work we’re showing was cast,” he said. “All of that is fully disclosed.”

In a news release about the exhibit, the Honolulu museum explained that Rodin’s art was in great demand after 1880 and that he set up his studio, taking advantage of bronze castings to produce large editions of his works in a variety of sizes. The master sculptor created his work first in clay, which would then be used by trusted craftspeople and foundries to make stone or metal sculptures.

Judith Sobol, executive director of the Cantor Foundation, said the sculptures are authentic, authorized posthumous casts.

“When Rodin died, he made a deal with the nation of France,” she said. “He gave them permission to cast his works. That is what makes them authorized and authentic. The casting of these works after his death is highly supervised by the Musee Rodin.”

The pieces in the Honolulu exhibit represent works from throughout his career, ranging in size from a few inches tall to larger-than-life pieces.

Arseneau, dubbed “the Rodin Chaser” by the Vancouver Art Museum after raising similar concerns there, said he is not giving up his quest, which has been going for more than a decade.

“This exhibit, it’s very attractive, no doubt,” he said. “I’m not telling them they shouldn’t display these objects. I’m saying they should give full and honest disclosure so that the public may decide whether or not to pay the $10 price for admission.”

The public can learn more about Rodin and the casting process at free lectures being held in connection with the exhibit. Also scheduled are sketching sessions in the gallery and monthly hatha yoga combined with a conversation about select sculptures.