The Bronze Age, also known as The Vanquished, modeled 1876, this bronze cast ca. 1906 Auguste Rodin (French, 1840–1917) Bronze; H. 72 in. (182.9 cm)

"Recently I have taken to isolating limbs, the torso "Recently I have taken to isolating limbs, the torso. Why am I blamed for it? Why is it allowed the head and not portions of the body? Every part of the human figure is expressive. And is not an artist always isolating, since in Nature nothing is isolated? When my works do not consist of the complete body (..), people call it unfinished. What do they mean? Michelangelo´s finest works are precisely those which are called 'unfinished'. Works which are called finished are those who are clean - that is all.

His vision, from the constantly passing bars has grown so weary that it cannot hold anything else. It seems to him there are a thousand bars; and behind the bars, no world. As he paces in cramped circles, over and over, the movement of his powerful soft strides is like a ritual dance abound a centre in which a mighty will is paralysed. Only at times, the curtain of his pupils lifts quietly. – And image enters in, rushes down through the tense, arrested muscles plunges into the heart and is gone. Translation: Stephen Mitchell

DER PANTHER Im Jardin des Plantes, Paris Sein Blick ist vom Vorübergehn der Stäbe so müd geworden, dass er nichts mehr hält. Ihm ist, als ob es tausend Stäbe gäbe und hinter tausend Stäben keine Welt. Der weiche Gang geschmeidig starker Schritte, der sich im allerkleinsten Kreise dreht, ist wie ein Tanz von Kraft um eine Mitte, in der betäubt ein großer Wille steht. Nur manchmal schiebt der Vorhang der Pupille sich lautlos auf -. Dann geht ein Bild hinein, geht durch der Glieder angespannte Stille - und hört im Herzen auf zu sein.

We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.

Wir kannten nicht sein unerhörtes Haupt, darin die Augenäpfel reiften. Aber sein Torso glüht noch wie ein Kandelaber, in dem sein Schauen, nur zurückgeschraubt, sich hält und glänzt. Sonst könnte nicht der Bug der Brust dich blenden, und im leisen Drehen der Lenden könnte nicht ein Lächeln gehen zu jener Mitte, die die Zeugung trug. Sonst stünde dieser Stein entstellt und kurz unter der Schultern durchsichtigem Sturz und flimmerte nicht so wie Raubtierfelle und bräche nicht aus allen seinen Rändern aus wie ein Stern: denn da ist keine Stelle, die dich nicht sieht. Du mußt dein Leben ändern.

I argue thus. If it be true that painting employs wholly different signs or means of imitation from poetry, –the one using forms and colors in space, the other articulate sounds in time, –and if signs must unquestionably stand in convenient relation with the thing signified, then signs arranged side by side can represent only objects existing side by side, or whose parts so exist, while consecutive signs can express only objects which succeed each other, or whose part succeed each other in time.

At the same time he stretched forth to tear the knots with his hands his fillets soaked with saliva and black venom at the same time he lifted to heaven horrendous cries: like the bellowing when a wounded bull has fled from the altar and has shaken the ill-aimed axe from its neck.