Victoria Sackville-West, Lady Sackville 1913 - 1914

Editor: Here we have Rodin’s marble sculpture, "Victoria Sackville-West, Lady Sackville," created between 1913 and 1914. It’s a captivating portrait, isn't it? It strikes me as contemplative, almost melancholic. What captures your attention most in this work? Curator: Melancholy is a good word for it. The rough texture of the marble gives a sense of immediacy, as though Rodin just stepped away, doesn't it? Her gaze is introspective, like she's carrying secrets in the gentle curve of her lips. Editor: Absolutely, that impasto finish does make it feel so fresh. Do you think the texture contributes to the emotion that comes through? Curator: Undoubtedly! The unfinished quality brings us closer, making it less about idealized beauty and more about capturing a fleeting moment of raw emotion. Look how the shawl cradles her form, almost protective, suggesting both vulnerability and resilience. What story does that tell you, do you think? Editor: I hadn't considered the shawl's protective aspect. It now seems less about covering and more like shielding. It brings out this idea of internal strength, that she is going through something. Curator: Precisely! It transforms the reading of the portrait. Perhaps Rodin sensed that duality within her. These imperfections and open narratives are really what Rodin was interested in portraying. Editor: It’s incredible how much nuance he could convey with marble and this approach to texture. I never considered how much information you could take from how "unfinished" it feels. Curator: Indeed. The magic lies in how Rodin transformed inert stone into a vessel brimming with human emotion. And for me it encourages us to think more broadly, not to just see art, but to feel and interact with it.