Thus, in Meunier's
"The Miner," the block represents the mine; in Rodin's "Orpheus and
Eurydice," it represents the mouth of Hades; in his "Mystery of the
Spring," a basin. Through the possibility of thus representing the
relation of man to his environment a notable extension in the scope
of sculpture is obtained.
When a background is introduced, the figure or figures, being members
of a larger whole, require less detailed treatment, less clearness of
outline. Their parts may even be left in large measure unfinished, the
contours melting together with the block. A special point of regard,
from which alone the figures are modeled, is obviously essential.
Striking is the contrast of this type with the classic, where the
utmost precision in modeling is necessary. Along with the diminished
emphasis on clearness of form goes an increased effort at the portrayal
of the inner, more spiritual life; sentiment and mystery find an
unwonted place in the art. Rodin's "Psyche" is a good illustration.
Yet, despite these differences, the classic demand for living surfaces,
for rhythmical lines, for perspicuity and totality of silhouette, for
singleness and unity of material, abides.
However, when the block attains prominence, the unification of the
different figures through contact is no longer of equal necessity. The
background serves the purpose of bringing the figures together, of
providing a material bond between them. This is especially true in the
various kinds of relief, between which and sculpture in the round,
impressionistic sculpture is a sort of compromise.
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