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And yet Rodin does belong to us, not by virtue of his light-trap modeling, but because in him, for the first time, we see firm flesh resolve itself into a symbol of perpetual flux. Rodin’s anatomy is not the fixed law of each human body but the fugitive configuration of a moment. […] And the strength of the Rodinesque forms does not lie in the suggestion of bone, muscle and sinew. It resides in the more irresistible energy of liquefaction, in the molten pour of matter as every shape relinquishes its claim to permanence. Rodin’s form thus becomes symbolic of an energy more intensely material, more indestructible and more universal than human muscle power. And it is here, I believe, that Rodin links up with contemporary vision. — Art Digest, August 1953, Leo Steinberg, in Other Criteria: Confrontations with Twentieth-Century Art.

For a summer of drug abuse on the island of Capri, she packed a wardrobe of black Morticia gowns, dyed her hair green, and paraded through the village streets with a crystal ball, followed by a retainer in gold body paint. — Scot D. Ryersson, The Marchesa Casati: Portraits of a Muse.