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It was the sculptor Leonardo who gave this look of unapproachability to the Mona Lisa, this motion inward, this gaze one cannot meet. His Francesco Sforza probably had the same quality, this expression of motion in return, like a proud ambassador who returns to his country after the fulfillment of some great purpose. In the long years that passed between the mask of The Man with the Broken Nose and the figure of First Man, Rodin developed in many quiet ways. New associations linked him more closely with the tradition of his art.
We grant them the right to have their own development, their own wishes, feelings, moods, and occupations. Rodin knows by way of the training he took upon himself that the body consists solely of scenes of life, a life that can become great and individual in any place, and he has the power to provide any part of this broad, variegated plane with the autonomy and richness of a whole. Just as the human body is a whole for Rodin only insofar as all its limbs and powers respond to one common (inner or outer) movement, so do the parts of various bodies come together of inner necessity to make up a single organism.
The back is rounded, the neck almost horizontal, and she leans forward as if to listen to her own body, in which a strange future is beginning to stir. It is almost as if the weight of the future burdens this woman’s senses, drawing her down from the abstractness of life and into the deep humble service of motherhood. Rodin returns again and again in his nude figures to this turn inward, to this intense listening to one’s own depths. We see it in the extraordinary figure he called Meditation (bronze; p.