The exhibition “Rodin et la danse” recounts an artistic encounter imbued with freedom and grace. With the famous series of Dance Movements presented for the first time to the public, the art of the sculptor continues to fascinate with its modernity and its unvarnished steps. Sensitivity and reflection are in the spotlight in this reduced course, tinged with delicacy and femininity.

He ordered his models not to pose when he drew them, inviting them to move freely in space, capturing their movement continuously without looking at his support. The sketch is constructed in many energetic features, vibrating like a blurred photograph. The artist sometimes drew a line more frankly on a sheet of tracing or, in an approach similar to his sculpture, cut out the sketch in several parts and then assemble them as he pleases.

Rodin’s love for the ancient drives him to forget certain parts of the human body to retain only the dynamics of the movement.

“What is the body of the dancer if not an instrument by which he throws vibrations into the space, waves of music that will allow him to express all human emotions. “Wrote Loïe Fuller in her book Les cries du corps. And what expressiveness of the movement, what poetry of the gesture behind the suggested musculature, the unfinished figurines and the hardly carved faces! The genius is in this junction where, behind a brutal truth without any superficiality, one finds Rodin’s soul, his spontaneous artist’s hand, his modeling fingering.

When a good sculptor models human bodies, he not only represents the musculature, but also the life that warms them. One day, Rodin met the dance for our greatest pleasure.

 

 

 

 

Estelle Varillon