… the strength of the Rodinesque forms does not lie in the suggestion of bone, muscle and sinew. It resides in the more irresistible energy of liquefaction, in the molten pour of matter as every shape relinquishes its claim to permanence.
This is from the collection Other Criteria: Confrontations with Twentieth-Century Art by Leo Steinberg (2007; 1972). The following is from the essay ‘Rodin’ first published in 1963:
I had turned ten when Rilke’sRodin fell into my hands, and I still have the book, now held together by a rubber band. The text, which I read word by word, did not strike me as out of the ordinary; it was, I judged, the way grown-ups write about art. But the pictures at the back of the book — the sculptor’s works in sepia-toned photographs, some of them signed across the bottom ” Aug. Rodin” — these were pored over in…
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