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From now on, Rodin would translate as directly as possible into clay what his eye saw and, in the sensuously tactile surfaces of his work, what his hand felt when he caressed the bodies of his female models. Though Rodin stood outside the academic establishment, he was not a realist in the sense that the Impressionists, his exact contemporaries, were. As the title The Age of Bronze suggests, his subjects were literary, romantic, and philosophical, often taken from mythology and history and steeped in the language of allegory and symbol.
He revealed the interior life of his subjects through movement and expression, but also through exaggeration.