Page 45 - Studio International - July/August 1967

towards or away from the front foot, which helps to give can stand up to nature and ill treatment so that you can
the impression of motion. (Thus, for those who want to still see the shape I put into it. I don't consciously make
see the sculpture as one of movement, there are many my work look like a ruin.... In pieces like that for the
viewing angles.) But, as Moore points out, the figure's Lincoln Center I wanted an analogy with stone, to
feet 'clench the earth'. Imitating the position of the be sure.... But the texture of my work is the result of
figure with the right foot turned in, he showed how one the inter-action of tools and materials. For example, white
could not possibly walk in this manner. The toeing-in is marble requires a high finish. I am not trying to imitate
for him the result of the model 'striking a pose', which is eroded forms.'
borne out by Rodin's own recollection that was not known Since we had concerned ourselves with technical and
to Moore when he made this point. He liked the ambi- historical problems relating to the Walking Man, I asked
valence between the moving and static poses, as the Moore to comment on those additional qualities of the
latter is more compatible with his own art. He sees the work he was enthusiastic about. 'I like its springiness,
left leg, for example, as 'dragging', and prefers the angle tautness and energy. Every muscle is braced. It all heaves
in which the weight is closest to the front foot. His photo- upward. Rodin has put something of the archaic Greek
graphs shows his preferred angles that take in the fullest style into it by widening the thighs and calf towards the
effect of the torso. top. The forms diverge upwards from the ankle to the
I asked Henry Moore why he should admire Rodin's knee and from the knee to the top of the thigh. This gives
emulation of an antique ruin and why he should be an upward thrust. The leg is not tired and sloppy like a
enthusiastic about a way of work different from his own. sack. The knees are braced backward and the knee cap is
He replied that Rodin helped open the eyes of modern up.'
sculptors to the fragment, the sketch, the accident, and Having seen how Rodin built up a sculpture syntheti-
the importance of much older sculpture that was being cally, I reminded Moore of Matisse's criticism that Rodin
ignored. I asked Moore if his own work wasn't intended lost sight of the total effect by concerning himself with
to give the appearance of ancient or older forms that had details, and asked if he agreed. 'Rodin does pay attention
survived the elements or been shaped by them as I had to the whole. His own nature gives the figure unity. The
so often read. He shook his head. 'It's alright for Rodin unity comes from Rodin's own virility... it is a kind of
but not for me ... I like to use Hornton stone, for example, self-portrait.'
because it doesn't look new. It doesn't look like white Thinking over the influence Rodin had generally
marble or as if you would leave dirty finger prints if you exerted on his own work, Moore said : 'Rodin taught me
touched it... I want sculpture that looks permanent and a lot about the body; its assymmetry from every point of

Above, rear view of the Walking Man.
Left, rear view of Rodin's Torso in the Petit Palais, Photo Bulloz.