Rodin's Dancers

'Rodin’s Dancers is a beautifully designed and visually stunning book. Bellow’s meticulous and kinaesthetically astute research provides a rich interdisciplinary study of the aesthetic dialogues between the plastic arts and expressive movement in the early twentieth century. A must-read.’ - Ann Cooper Albright, Professor of Dance, Oberlin College, and author of Traces of Light: Absence and Presence in the Work of Loïe Fuller

‘This paradigm-shifting book radically transforms how we understand Rodin and the dancers he sculpted and studied. Its explosion of traditional hierarchies of art, gender and politics yields revelations that will dazzle even experts. Juliet Bellow’s multidisciplinary study is a tour de force.’ - Carol Ockman, Robert Sterling Clark Professor of Art History, Emerita, Williams College, and co-author of Sarah Bernhardt: The Art of High Drama

‘Juliet Bellow’s new book on dance, dancers and Auguste Rodin’s sculpture is a model of interdisciplinary potential, exemplifying the synergies between performance and sculpture studies. While Rodin is at the centre, this thoughtful study expands centrifugally to address the cultural, artistic, sexual and political debates of early twentieth-century France. Combining substantive research with novel questions, Bellow not only gives new views of Rodin and his sculpture: she also argues that modernity was made by moving bodies.’ - David J. Getsy, Eleanor Shea Professor of Art History, University of Virginia, and author of Rodin: Sex and the Making of Modern Sculpture

‘Remarkable for its meticulous archival research and its rigorous interdisciplinarity, Rodin’s Dancers offers a compelling argument about the reciprocal but never symmetrical relationships between Rodin and the dance artists who shaped his later work.’ - Anthea Kraut, Professor of Dance, University of California, Riverside, and author of Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance​

‘Rodin’s Dancers succeeds brilliantly as both cultural history and as a sustained feat of visual analysis and reflection. Juliet Bellow recovers the agency and autonomy of the dancers as participants in an open-ended exchange with the famous sculptor, albeit one framed by unequal power structures.’ - Dr Tom Stammers, Reader in Art and Cultural History, The Courtauld Institute, University of London, and author of The Purchase of the Past: Collecting Culture in Post-Revolutionary Paris c. 1790–1890​