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Brownell, W. C. (William Crary), 1851-1928

"French Art Classic and Contemporary Painting and Sculpture"

In the event of such an irruption, would
there be any torsos left from which future Poussins could learn all they
should know of the human form? Would there be any _disjecta membra_ from
which skilled anatomists could reconstruct the lost _ensemble_, or at
any rate make a shrewd guess at it? Would anything survive mutilation
with the serene confidence in its fragmentary but everywhere penetrating
interest which seems to pervade the most fractured fraction of a Greek
relief on the Athenian acropolis? Yes, there would be the debris of
Auguste Rodin's sculpture.
In our day the human figure has never been so well understood. Back of
such expressive modelling as we note in the "Saint Jean," in the "Adam"
and "Eve," in the "Calaisiens," in a dozen figures of the Dante doors,
is a knowledge of anatomy such as even in the purely scientific
profession of surgery can proceed only from an immense fondness for
nature, an insatiable curiosity as to her secrets, an inexhaustible
delight in her manifestations. From the point of view of such knowledge
and such handling of it, it is no wonder that the representations of
nature which issue from the Institute seem superficial.


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