Harper\'s Bazaar USA - 12.2019

NEWS

138

WHEN THE London art institution Tate Modern reached out

to the Musée Rodin in Paris to request loans for a tribute next

fall to the father of modern sculpture, the museum’s director,

Catherine Chevillot, decided to make it a true cultural

exchange. Granting unprecedented access to its extensive

collection of Rodin’s work, Chevillot offered up more

than 200 pieces, many of which have never been seen

outside of France. In partnership with Tate Modern’s

sister gallery Tate St Ives, in Cornwall, the Musée Rodin

is hosting a parallel exhibition on the work of 20th-

century British sculptor Barbara Hepworth, on view

through March. Highlighting Hepworth’s signature

curvaceous forms inspired by her seaside home in

St Ives, the show paints her as a radical artist who

eschewed Rodin’s powerful expressionism in favor

of a new, organic sensibility. “It’s something very

much in harmony with what Rodin imagined for

his museum,” says Chevillot. “He wanted it to be a

place for sculptors who came after him. It’s our duty to make

links between Rodin and the art of today.” Alison S. Cohn

ARTISTIC

DIPLOMACY

The Musée Rodin and the Tate team up on a pair

of landmark shows celebrating the legacies of

sculptors Auguste Rodin and Barbara Hepworth

Barbara

Hepworth’s

Sea Form, 1958

Hepworth’s

Two

Figures,

1964

The

Musée

Rodin’s

gardens

Hepworth in

her studio,

St Ives, 1961

One of the

Musée Rodin’s

galleries

Auguste

Rodin’s The

Thinker, 1903

Hepworth’s

Pelagos,

1946

Rodin’s The Big

Shadow, 1902

MUSÉE RODIN GARDEN AND INTERIOR PHOTOS: COURTESY MUSÉE RODIN. AUGUSTE RODIN’S

THE TH

INKER,

1903, PHOTO: JÉRÔME MANOUKIAN/MUSÉE RODIN PHOTO AGENCY. BARBARA HEPWO

RTH PORTRAIT: ROSEMARY MATHEWS. BARBARA HEPWORTH ARTWORK,

FROM TOP RIGHT:

SEA FORM (PORTHMEOR),

1958, BRONZE, 83 x 113.5 x 35.5 CM;

TWO F

IGURES (MENH

IRS),

1964, SLATE, 82.5 x 63.8 x 32 CM;

PELAGOS,

1946, ELM AND STRINGS, 43 x 46 x 38.5 CM. ALL ARTWORK: © BOWNESS. ALL PHOTOS: © TATE