The essence of move­ment

Milk Magazine (English) - - EXHIBITION -


Who could con­vey bod­ily emo­tions more in­tensely than a sculp­tor ac­claimed as one the best of his gen­er­a­tion ? In the 1890s, Rodin took a par­tic­u­lar in­ter­est in dance, a per­form­ing art then in the midst of meta­mor­pho­sis. Not only did move­ments change but also the codes of the genre. The in­ge­nious sculp­tor of bronzes and mar­bles was cap­ti­vated by a per­for­mance of Cam­bo­dian dance dur­ing the 1889 Paris Ex­po­si­tion Uni­verselle. He be­gan mod­el­ling small fig­ures of dancers, ex­plor­ing all chore­o­graphic styles, es­pe­cially those freest in ex­pres­sion. Rodin saw dance as a new chal­lenge. Al­ready sub­li­mated by the sculp­tor’s artistry, the body was en­hanced still fur­ther by dance move­ments. Whether slow or jerky, but al­ways ex­act, the move­ments seem to come to life be­fore our eyes. The re­mark­able draw­ings used in the master sculp­tor’s re­search are dis­played along­side the se­ries of sculp­tures, adding fur­ther sub­stance to this ex­hi­bi­tion. One may only guess the hours he spent mod­el­ling the fig­ures in th­ese sketches. One art form ob­serves another and be­comes a wit­ness. (M.P.)

7 April-22 July 2018 77, rue de Varenne, Paris 7e,

Au­guste Rodin 1. Assem­blage : Two Dance Move­ments A, plaster, circa 1911. 2. Dance Move­ment C, ter­ra­cotta, circa 1911. 3. Moulds, plaster coated in lu­bri­cant, 1911.

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