One of Rodin's most dramatic contributions historically was his demonstration that parts of the body were dispensable in a finished sculpture. In 1900 he exhibited publicly for the first time a small headless and armless study made for his John the Baptist. Some years later he enlarged this work and gave it the title Walking Man. Inspired by his study of the fragmented figures of antiquity in museums, Rodin became convinced that a complete work of art did not presuppose an entire figure. He cited the example of portrait busts and pointed out that in Greek fragments we can appreciate perfect beauty (a premise to which the Greeks themselves would have objected). When Rodin eliminated the head and arms from his sculpture, he also removed its identity and the traditional means for rhetorical expression. As pedestrian a subject as a man walking now took on the aspect of universal drama, and for the first time biological man became the central artistic concern. From certain angles the Walking Man, in full stride and with the upper part of his torso tilted forward and to the right, appears about to topple over. The powerful legs suggest a pushing off from the back foot and a receiving of weight and downward pressure on the front foot—a simultaneous condition that is impossible in life yet believable in Rodin's sculpture. Like Michelangelo, Rodin was willing to adjust anatomy in the interest of artistic plausibility. When asked why he had left off his figure's arms and head, Rodin replied, "A man walks on his feet."
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