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.
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Notes
Quoted in Albert E. Eisen, Rodin (New York: Museum of Modern Art, 1963) p. 93.
F. H. Bradley, Appearance and Reality: a Metaphysical Essay, 2nd edn (London, 1908) p. 346.
J. Hillis Miller, The Form of Victorian Fiction (Notre Dame University Press, 1968) p.5.
Patricia Meyer Spacks, introduction to The Author in His Work, eds Louis L. Martz and Aubrey Williams (New Haven: Yale University Press, 1978) p. xv.
Virginia Woolf, ‘Mr. Bennett and Mrs. Brown’ in The Captain’s Death Bed and Other Essays (New York: Harcourt, Brace, 1950) p. 117.
Joseph Conrad, A Personal Record [1912] (New York: Doubleday, 1926) p. xv.
Samuel Hynes, The Edwardian Turn of Mind (Princeton University Press, 1968) p. 326.
Van Gogh, in an exhibit comment accompanying ‘Self-Portrait with Straw Hat’ (1887), André Meyer Galleries of Metropolitan Museum of Art, New York.
Virginia Woolf, ‘The Russian Point of View’ in The Common Reader: First Series (New York: Harcourt, Brace & World, 1925) p. 182. In the essay ’Modern Fiction’ in the same volume she wrote: ’If we want understanding of the soul and heart where else [but in Russian fiction] shall we find it of comparable profundity’ (p. 157).
See E. M. Forster, Aspects of the Novel ( New York: Harcourt, Brace & World, 1954 ) pp. 130–5.
George Dangerfield, The Strange Death of Liberal England 1910–14 [1935] (New York: Capricorn Books, 1961) p. 366.
Quoted in Wilfred Stone, The Cave and the Mountain: a Study of E. M. Forster (Stanford University Press, 1966) p. 250
from Noel Annan, ‘The Intellectual Aristocracy’, Studies in Social History: a Tribute to George Trevelyan, ed. J. H. Plumb (London, 1955) pp. 252–3.
Malcolm Bradbury, Possibilities: Essays on the State of the Novel ( New York: Oxford University Press, 1972 ) p. 84.
Quoted in Quentin Bell, Virginia Woolf: a Biography (New York: Harcourt, Brace, Jovanovich, 1972), u, 73.
Virginia Woolf, To the Lighthouse ( New York: Harcourt, Brace & World, 1927 ) p. 236.
Hilton Kramer, ‘The Picasso Show’, New York Times, 12 Oct. 1980.
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© 1995 Daniel R. Schwarz
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Schwarz, D.R. (1995). ‘I Was the World in Which I Walked’: the Transformation of the British Novel. In: The Transformation of the English Novel, 1890–1930. Palgrave Macmillan, London. https://doi.org/10.1057/9780230379336_2
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