PARIS.- The Rodin Museum in Paris invites visitors to delve into the story behind Auguste Rodin’s search for the essence of Balzac, one of the 19th century’s most iconic writers. The ongoing exhibition, Corps In.visibles, explores Rodin's creative process, his groundbreaking use of clothing in sculpture, and broader questions about the representation of bodies in public art.

The Study of Balzac’s Dressing Gown

At the center of the exhibition is Rodin’s Study of Dressing Gown for Balzac, a rarely exhibited piece that showcases the sculptor's unconventional approach to portraying the celebrated author. Rodin’s effort to sculpt a monument for Balzac began nearly fifty years after the novelist's death, when he was commissioned by the Société des Gens de Lettres. This commission sparked an extraordinary artistic journey as Rodin sought to reconstruct Balzac's image and essence.

Rather than relying solely on idealized portrayals or generic depictions of literary greatness, Rodin’s search for authenticity took him to unexpected places. He studied relics of Balzac in Brussels, visited his native Touraine, and even tracked down Balzac’s tailor. Remarkably, Rodin had the tailor recreate one of Balzac’s suits based on the writer’s actual measurements, revealing a body considered unflattering by the standards of the time. The recreated frock coat, along with Rodin’s study of Balzac’s body through clothing, forms a pivotal part of the exhibition.

Draping Myth Over Reality

Rodin faced significant challenges in depicting Balzac as he truly was—a short and corpulent man—when the expectations of his commissioners demanded a grand and heroic figure. To reconcile these conflicting demands, Rodin leaned into the myth of Balzac writing in a dressing gown, concealing the writer’s physical form under the dramatic folds of a flowing robe.

The exhibition showcases Rodin’s innovative use of plaster to mold an actual dressing gown, a process that ultimately led to the final monument. This section of Corps In.visibles highlights Rodin's journey toward idealizing Balzac’s body and probes the broader implications of societal expectations for public monuments. The exhibit invites reflection on issues such as fatphobia and the exclusion of diverse body types from public representation.

Bridging Past and Present

The final segment of the exhibition creates a dialogue between Rodin’s statue of Balzac, completed in 1898 but rejected by the Société des Gens de Lettres, and a contemporary work by sculptor Thomas J. Price. Price’s piece—a statue of an anonymous Black woman dressed in jogging attire—represents a shift toward greater inclusivity and diversity in public art. This juxtaposition invites visitors to consider the evolution of body representation over time, contrasting Rodin’s idealized yet controversial Balzac with Price’s modern celebration of ordinary, underrepresented figures.

A Thoughtful Collaboration

Curated by Marine Kisiel, of the Palais Galliera, Paris Fashion Museum, and Isabelle Collet, head of the scientific and collections department at the Rodin Museum, Corps In.visibles is a multidisciplinary effort. The exhibition draws on 19th-century fashion pieces from the Palais Galliera, unpublished archives from the Institut de France, and Rodin’s sculptures. Together, these elements tell a layered story about the relationship between art, clothing, and societal norms.

Reflection and Relevance

As public spaces increasingly reflect the diversity of contemporary society, Corps In.visibles raises critical questions about whose bodies are celebrated and how they are portrayed. It also offers a rare glimpse into the creative process of one of history's most celebrated sculptors, challenging visitors to rethink traditional notions of beauty and heroism.