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Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël
Raoul Larche - Buste d'enfant (portrait présumé de Marcel Lerolle)
Sarah Bernhardt - Dagger : algues
 Baccarat Factory - Vase à décor de cactus
Emile Gallé - Commode, Le Sang d'Arménie
 Bracquemond (Félix), Rousseau (Eugène), Creil and Montereau factory - Round dish. Rousseau dinner service
Félix  Vallotton - Femme au bouquet
Emmanuel Frémiet - Le pélican gastronome
George Desvallières - Portrait de Mademoiselle Yvonne Robiquet
Léonard Agathon - Deux esquisses pour le Jeu de l'Echarpe

Male Torso

Paris, 1840 - Meudon, 1917
Circa 1887
60 x 30 x 25 cm

In 1887 or thereabouts, when looking round his studio, Rodin was excited to come across an abandoned study for the big plaster Saint John the Baptist that he exhibited at the Salon of 1880 : a man's torso, fissured, cracked and incomplete.
To preserve its almost archaeological beauty, this great lover of antique works had a mould and a very fine cast made of it. These are presented here.
The patina artist clearly sensed Rodin’s unique view of this piece, to the point of giving it the appearance of an antique fragment: the greenish patina plays on the nuances that we see in the bronze statues found during archaeological digs…

In 1900, Rodin gave new life to the Torso : he created a plaster proof which he assembled with a pair of legs - also a study for Saint John the Baptist - thus creating the revolutionary Walking Man. This truncated statue in movement, without a head or arms, was presented during the same year at the Alma Pavilion, an exhibition venue separate from the Universal Exposition, where Rodin displayed the results of his most recent pursuits.
Going beyond its elliptical audacity, the Walking Man reveals a mature Rodin, fascinated by fragments, assemblies and the effect of the passing of time on his creation.

Donor, testator or seller: 
Gift of Sir Joseph Duveen, 1923
Inventory number: 
Inventory number : PPS01256
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