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In the Western, Modernist art world clay was associated with old-fashioned academic traditions influenced mainly by Rodin; materials like steel and stone, which had a more resistant character, were preferred.
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The show's curator, Claudia Schmuckli, writes, "Her suggestive combination of objects and materials counters Rodin's sensuous eroticism with the raw and vulnerable realities of a sexual being".
The sculpture is left emerging from its raw material somewhat in the manner of Michelangelo or Rodin.
Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names.
Art restorers have long known how to repair those material flaws, so the experience of looking at a Vermeer or a Rodin remains basically unchanged over time.
"Sleeping Boy I" is an oversize youth whose body was fashioned from viscous oozy material like wet clay or plaster before being cast in bronze; it evokes ancient Greek sculpture via Rodin.
The key idea presented here by Rodin, Szathmáry & Rodin is that the genetic code (i.e. that associated with codons in the genetic material, and anticodons on tRNA) and the operational code (whereby tRNAs are correctly charged by aminoacyl-tRNA synthetases) share a single origin.
(Don't tell Rodin).
What was Rodin thinking?
Rodin is our contemporary.
Rodin and Cézanne.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com