Alison Cole | theartsdesk | 20th October 2016
By the early 1900’s Rodin was financially secure and able to pursue a particular side interest – dance. He was attracted by the challenge of capturing the fluidity of movement in clay. His predecessor Degas had built his reputation with studies of the world of classical ballet dancers. Rodin, in contrast, was interested in modern dance, Nijinsky’s radical innovations, the visual imagery of a new century.