In Auguste Rodin’s later years, he took a keen interest in dance, but unlike Edgar Degas, who was well known for his study on ballerinas, Rodin was fascinated by a new generation of dancers such as Loie Fuller, Isadora Duncan and Vaslav Nijinsky. These dancers favoured free flowing movements driven by emotion as opposed to the traditionally regimented and perfected style of ballet.
In particular, Isadora Duncan established a ‘temple’ to the cult of the Greek dance in Bellevue, near the sculptor’s studio in Meudon. Thanks to such proximity, Rodin was able to sketch her students’ movements, lamenting, ‘if I had only known such models when I was young. Models who move and whose movement is in close harmony with nature’.