‘I Was the World in Which I Walked’: the Transformation of the British Novel

Abstract

In the Sculpture Garden of the Museum of Modern Art stands Rodin’s large 1897 statue, Monument to Balzac. The imposing figure of Balzac is 10 feet tall, and it rests on a 5 foot-high slab. At first, the observer may wonder what this seemingly realistic piece is doing in the citadel of modernism. But gradually he realizes that the work is a crystallizing image of modernism, for it depicts the artist as outcast and hero. Towering above onlookers, Balzac is wearing the expression of scornful magisterial dignity. With back stiffly yet regally arched past a 90 ° angle, Balzac looks into the distance and the future as if oblivious and indifferent to the opinions of the Lilliputians observing him from below. The large moustache, massive brows, flowing hair, and enormous ears and nose all emphasize the immense physical stature of the figure. As observers we crane our necks to see the features of this commanding figure whose gigantic head is disproportionate to his body. His features are boldly outlined but not precisely modelled. His huge head dominates the massive form; the body enwrapped in a cloak is a taut cylinder; the only visible feature is the feet, which are in motion as if they were going to walk off the slab. Indeed, one foot actually overhangs the slab as if it were about to depart. In the geometric shape of an isosceles triangle, the intimidating figure asserts the dependence of content upon form.