David Times Three

Artists assume a big responsibility when they choose a legendary figure as their subject. The movers and shakers of history, mythology, and the Bible are universally known, and with these figures comes the import of their momentous actions and the attached symbolism. It’s one thing to paint an anonymous female nude in the studio. It’s quite another to paint Venus or Mary Magdalene.

I thought it would be fun to compare the works of three sculptors and their versions of David, the young Israelite who bravely stepped up to challenge Goliath, the nine foot tall Philistine warrior, at the Valley of Elah. Without armor or training, David placed a stone in his slingshot and let it fly. He knocked down Goliath and then beheaded him. The story of David and Goliath is immortal, and the phrase “David versus Goliath” has become a metaphor – an apt, effective one at that – to describe any situation of an underdog taking on a stronger, more powerful opponent. The little guy versus the big guy. Think George Bailey standing up to Mr. Potter in “It’s a Wonderful Life”. Or the “Miracle on Ice” USA hockey team defeating the Soviets in the 1980 Winter Olympic games.

We’ll start with the obvious, Michelangelo’s David. The standard-bearer. The epitome of Renaissance sculpture. A work that could very well have led to the invention of the term “masterpiece”. This is a strong, beautiful, idealized David, thoroughly heroic, standing in an elegant contrapposto, resting his slingshot on his left shoulder. His physique is fit and his handsome face holds an intense gaze. It’s been over 20 years since I saw this David “in the flesh” so to speak.

Next we have Donatello’s David, in bronze, and at first glance you wouldn’t even know that this is supposed to be the same David as Michelangelo’s. More like the hipster David. He is, well, kind of girly. Unlike Michelangelo’s work, Donatello’s David stands atop the severed head of Goliath. But still his portrayal of David himself seems callow and effete. It’s true that David was a very young man, but it’s hard to picture this pre-pubescent kid taking down a giant with a slingshot. I find the hat silly and distracting, and the hand on hip gesture looks like immature swagger.

Donatello did create a marble David before the bronze, but that one also leaves me cold.

Lastly, we have Bernini’s David. Now folks, this is what I’m talkin’ about. Yeah baby! This is some kick-ass sculpture right here. Bernini had an exceptional gift for capturing dramatic action in his sculptures, pivotal narrative moments frozen in marble, replete with movement and torsion. His David is a prime example of this talent. Unlike Michelangelo and Donatello, Bernini chose to depict David not before or after his triumph, but at the climactic instant when he launches his slingshot and sends the projectile that will take down Goliath. Exciting, in-your-face stuff.

Busty Lady

First they took measurements of my head with a sculptor’s caliper. Then they slapped slabs of water-based clay on their armatures. Then they began the process of creating portrait sculptures of yours truly. When Mario D’Urso asked me to pose for his private sculpture class in his Queens studio I jumped at the chance. I haven’t modeled for sculpture in quite a while, and Mario is a delightful, wonderful guy, so it was a no-brainer. Here’s Mario showing Lara some modeling techniques:

My booking with Mario’s group is open-ended. We’ve agreed to continue with the portrait sculptures until they are finished, with no fixed timetable. So as far as planning sessions is concerned we’re winging it from week to week, scheduling the nights according to my modeling calendar, which is very considerate of them.

Still a work-in-progress, this piece is coming along nicely. And I’m really enjoying watching the class work as I sit for them. They mold, carve, add clay, take clay away, and try to achieve a likeness in terms of features, proportions, and character.

A sculpture “bust”, by the way, usually refers to a sculpture of the subject’s head, shoulders, and upper torso. What we’re doing in Mario’s class is more accurately a “portrait sculpture” of just the head. But I couldn’t resist using “busty lady” for the post title. I thought it was funny. Or wishful thinking. Or maybe it was just a cheap ploy to get more search engine traffic

Art About Town

Hey gang! I’d like to broadcast some new art exhibitions taking place in the New York City and Long Island areas. The first one is Bernini: Sculpting in Clay at the Metropolitan Museum. The NY Times review described it as “not a blockbuster of a show” but one that is surely a must-see for sculpture aficionados and those who are curious about the process Bernini employed to achieve his signature style of twisting, dramatic movement.

The Guggenheim has just unveiled Picasso Black and White , an exploration of the “colorless” works of an artist whose creative periods are often identified by colors – Rose period, Blue Period, etc. Always challenging himself, Picasso tested his skills and imagination with a limited palette of monochromatic black and grey tones. Again from the NY Times review, I found this excerpt quite illuminating:

Inevitably “Picasso Black and White” is also a judgment on Picasso the colorist, repackaging a long-held criticism — that he was indifferent to or indiscriminate with color — as a virtue. “The fact that in one of my paintings there is a certain spot of red isn’t the essential part of the painting,” Picasso himself once said to Françoise Gilot. “You could take the red away, and there would always be the painting.”

And last but not least is an artist I model for regularly at his outstanding school, the Long Island Academy of Fine Art. Robert Armetta’s solo show can be seen at Farmingdale State College’s Memorial Gallery and will be on view through October 21st. Check out this video of Robert’s elegant work:

Web Treasures

Hey friends. I’d like to share a few goodies from around the web that I’ve stumbled upon in the past few days. We have an awesome mixed-bag here, so pick your pleasure! First, a thoroughly delightful article on “How to Be a Plein-Air Painter” by Flora Armetta. Flora is a wonderful writer and the wife of Robert Armetta, an artist and teacher whose classes I have been modeling for regularly at both the New York Academy of Art and Robert’s own school, the Long Island Academy of Fine Art in Glen Cove. Next is a sensational gallery of artwork by the 18th century English poet William Blake. Unconventional and iconoclastic, Blake’s paintings have a strange, enigmatic power. The new issue of Glasschord Magazine is out. This volume’s theme is “Dynamics”, with eclectic offerings in art, prose, poetry, interviews, and music. Organic gardening, photography, and emotionally honest writing come together on AmericanCountryGirl’s Blog. She is a formidable communicator through both her hard work and authentic voice. From Bob Dylan to The Who to Bo Diddley, I loved this slideshow compilation of iconic rock album covers and the New York City locations where they were taken. And, in the wake of the Aurora shooting rampage, Br. Gabriel Torretta presents a contemplative, eloquent examination of “evil” in a blog post for Dominicana. A must-read in my opinion.

And finally, a marvelous find courtesy of Andrew Cahner who retweeted it onto his Twitter page. Rare footage of the great Auguste Rodin, one of my all time favorite artistic figures and giant of modern sculpture. I will never forget my visit to the Rodin Museum in Philadelphia two years ago. How I loved that place. The video appears on Open Culture with accompanying text, and I have embedded the video below. Have fun gang! See you soon

School Days

So I was just about to get off the computer when a tweet came up in my Twitter timeline. It was posted by the New York Academy of Art, a superb art school where I am honored to work as a model and have mentioned many times on this blog. They’ve shared a terrific video by Life + Times which takes you into the school on a behind the scenes tour led by President David Kratz. It’s really excellent. Thought I’d pass it along here on Museworthy.

Hope everyone has a wonderful weekend! I am on babysitting duty tonight with my niece Olivia. I don’t know exactly what she has planned for us but I’m fairly certain that mayhem will ensue

Pictures Over Politics

With all the major events going on the world lately I have been tempted to address some of them here on the blog. I even started writing a couple of posts in which I discuss issues and express my opinion. But those posts remain as unpublished drafts. This isn’t a political blog and people don’t visit Museworthy for that stuff. I am very well aware of that. I also just assume that no one really cares what my political views are! I am absolutely certain no one is losing a wink of sleep thinking, “I wonder what Claudia’s position is on abortion?”. I just want everyone to understand that I care deeply about the world and I follow the news closely. So please know that I DO have opinions. Some fairly strong ones too. And they fall variously across the entire spectrum. I’m an “independent”, for lack of a better word.

However, I would like to get just one thing off my chest that has really, really started to irritate me the past few months. Folks, this liberal PC speech police thing has to stop. Seriously. It’s gotten completely out of hand. You can’t just carelessly hurl the words “bigot”, “hate”, and “ignorant” at people who merely disagree with you. That’s just nuts. If you’ve ever known a true BIGOT, as I have, you would know that to call someone that is an extremely serious assault on that person’s character if it’s not accurate. Liberals claim to stand up for “tolerance” but then engage in these fascist, name-calling tactics toward dissenting views. I’m sorry, but if you’re intellectually incapable of making the distinction between reasoned, thoughtful opinions that differ from yours, and “hate”, then you really need to work on your critical thinking skills instead of reflexively frothing at the mouth like a paranoid bully whenever you hear something that doesn’t fall in line with your rigid agenda. I am in no way denying the existence of real hate and bigotry in the world. I’m merely saying that we should recognize it where it truly exists, not where we simply perceive it to exist as dictated by our politics and visceral responses.

I just can’t handle this sanctimonious, self-righteous liberal attitude anymore, especially since I have considered myself a liberal on several issues. But these days, every time I talk to a liberal, listen to a liberal commentator on TV, or read a blog or column written by a liberal journalist, I feel like I’m being lectured, or scolded, or arrogantly told that I need to “get educated”. To that I say: kindly go fuck yourself. I’m plenty educated, thank you very much. Stop trying to “correct” me or intimidate me or accuse me of being “phobic” or “ignorant”. I am NOT ignorant. That is a really uncalled for personal insult. And the only “phobia” I have is of small, confined, enclosed spaces. That gives me the creeps

Ok, I’m done. Rant over. Let’s move on to the usual Museworthy business of art and pretty pictures. Just a few of my Metropolitan Museum photos that I’ve been meaning to post. Here are two of the Greek and Roman Gallery fountain with shiny, shimmery coins. I wonder if any of those wishes came true?

A fountain of a different sort, this is The Nymph of Danpierre, by Louis-Claude Vasse. Marble, dated 1763:

Visitors to the Met, in their excitement to see the famous paintings and sculpture, tend to blow off the artifacts and pottery displays. Or just give them a cursory look. But this plate really caught my eye. The colors and the detail of the battle scene are very impressive:

Yes I did take this picture of this sculpture at this angle on purpose Nothing like a guy with a nice ass, even if he is made of stone:

And finally, one of my favorite spots in the Met to photograph, the staircase which leads down to main lobby:

Paradise Lost

I was doing a set of quick poses at Spring Studio a few weeks ago and Minerva Durham, the director of Spring, was sitting in with the group doing some sketching of her own, which she will do from time to time if she’s not busy with other tasks. I concluded my set of gestures with a standing pose. On the break Minerva bestowed generous high praise for my last pose and declared it her favorite of the group. This fascinated me. I had done other poses which I thought were more creative, and I was curious as to why Minerva was so impressed with the last one most of all. So I asked her why and she said that it reminded her of Rodin’s famous work of Eve’s expulsion from paradise. I recalled the Rodin piece Minerva referenced and I realized instantly that she had a great point. Yes! Minerva was right, as she usually is about all things art.

Here’s my pose, sketched by Minerva in charcoal:

And here’s Rodin’s Eve:

Definitely some similarities – the hunched back, the one stepping leg. Although now I wish I had brought my arms closer to my face instead of keeping them down on the lower torso. I’ll remember next time

Adam and Eve’s banishment from the Garden of Eden is one of the great Biblical parables, the narrative which provides the moral foundation for the concept of “original sin” and the subsequent “fall of man”. Artists have depicted this pivotal story with appropriate drama. Its main players, Adam and Eve, are often given physical gestures and facial expressions that communicate profound shame and remorse.

This is The Expulsion of Adam and Eve From the Garden of Paradise, by the 19th century French painter Alexandre Cabanel. Adam and Eve are shown cowering in disgrace as God looms over them, angered at their disobedience:

This is what happens when you misbehave and succumb to temptation – you get kicked out of an earthly paradise AND are forced to cover up your private parts. That’s the real indignity in all this as far as I’m concerned; having to wear a fig leaf. Let this be a lesson to all of you

Here’s the brilliant Rodin again, this time his marble sculpture of both Adam and Eve cast out from paradise. To great effect, Rodin placed Adam’s hand to cover his face in a gesture of humiliation. What a magnificent sculpture:

It is purely out of obligation that I post this next image. It is, of course, Michelangelo’s depiction of Adam and Eve’s expulsion which appears in the Sistine Chapel. It bears the Michelangelo trademark of depicting the female Eve as a manly butch. But the dramatic impact is great, and that sword coming in at Adam’s neck is pretty freaking scary:

American artist Benjamin West succeeded in capturing the tragedy of the fall in this work The Expulsion of Adam and Eve from Paradise from 1791. Again we see the hand covering the face gesture, and the atmosphere of God’s wrath:

Since this post was inspired by Minerva’s sketch of my pose I’ve limited it to the expulsion aspect of Adam and Eve. I’ll do another post on the “pre-fall” existence of Adam and Eve and the events which led to that harrowing event – the initial innocence, then the “temptation” that led to Adam and Eve’s bad behavior. More great artwork will take us through that story, so prepare for nudity, snakes and tasty fruit

Fauré’s Pavane

Hi everyone! Hope you all had a great weekend. I worked, as usual, and worked again today. An art model’s duties are ongoing. Tomorrow I have a much needed day off and I’ll be spending it doing my taxes. What a delight.

Anyway, I’m a little tired but it’s still Monday, which means I can still offer a post for “Music Monday”. Lately I’ve been really getting into the music of Gabriel Fauré. I’ve always been a huge fan of the French composers. Love them all equally I’d say. But hearing Fauré’s famous “Pavane in F-sharp minor” on classical radio the other day reminded me just how amazing he is. I think I prefer it to Maurice Ravel’s “Pavane for a Dead Princess”. A pavane is slow dance, which was popular in Europe during the Renaissance.

This video features Fauré’s Pavane with beautiful, haunting images of sculpture. I think they compliment the music very well. Enjoy, and I’ll see you soon

Kiss My Sarcophagus

One of the great things about working at the National Academy is the proximity to the Metropolitan Museum. If you’re finished early enough, you can enjoy a lovely five block stroll down Fifth Avenue and take in the Met’s countless, inspiring treasures. Today I modeled only for the morning session. So at 12:00, to the Met I went!

My primary reason for going to the museum was to see the Stieglitz, Steichen, Strand photography exhibition (which was INCREDIBLE, by the way!), but I always find myself wandering into the Greek and Roman Galleries whenever I’m there. The atmosphere is rarified and bright, and unlike some of the dimly lit galleries upstairs, the Greek and Roman is an ideal place to take pictures.

A sarcophagus is basically a stone coffin. The ancient Greeks, Romans, and Egyptians all used sarcophagi to inter their dead. Since they were meant to remain above-ground sarcophagi were often ornately designed, with mythological figures and stories carved into the stone. So what you have are amazing relief sculptures that are as impressive and elaborate as anything you’ll see. Marble, limestone, alabaster, and metals were all used for sarcophagi. A sarcophagus could have either stood alone freestanding or been part of a larger tomb construction. When the Christian practice of burying the dead in the ground became widespread, sarcophagus use gradually disappeared. King Tut’s tomb held an enormous sarcophagus – nine feet long and nine feet high- which contained the famous solid gold coffin that held the mummified remains of the King. Actually I think it was a coffin inside another coffin inside another coffin, in the sarcophagus, in the tomb. I’m not sure

There are three significant sarcophagi in the Greek and Roman Galleries. I photographed all of them at varying spots and angles. Click to enlarge for up close detail and dimension.

You find many players in these scene depictions: cherubs on chariots, bears, lions, horses, minotaurs, garlands of flowers, grapes, and pomegranates, the Greek hero Theseus and the princess Ariadne, Dionysus, Endymion, the whole gang.

Sealed inside an intricately sculpted sarcophagus is a grand way to spend eternity. A bit more stylish than a pine box! You gotta hand it to those Greeks and Romans – they went all out!

Making Guitars With Pablo

My mind has been a little distracted lately. I’m steeped in a state of jumbled contemplation over some personal and professional issues. Nothing to worry about, as I’ve done plenty of issue-wrangling in my life. I’m a pro! But it’s affecting my mental focus these days, and my blogging too. I can’t seem to get into my “groove”. So it was quite fortunate that a topic for “Music Monday” fell into my lap today, courtesy of the Museum of Modern Art. Thank you MoMA!

Their new exhibit is called “Picasso Guitars, 1912-1914″, and the exhibition website is fascinating reading and very easy to navigate. You can view rare images of Picasso’s studio, up close details of his experimental guitar project work, and read informative text. It is an amazing glimpse into the creative process which began one day in 1912 when Picasso, with his artistic imagination in high gear, like a young child in kindergarten art class, cobbled together a guitar using only common materials of cardboard, string, paper, wire, and a little glue. In that rudimentary sculpture piece, Picasso saw something. He then created another guitar, this time with sheet metal. Then came drawings, collages, photographs, and eventually, paintings. Picasso was playing with the apparatus for Cubism but searching for a new direction. And it all started with a crudely assembled cardboard guitar he made in his Paris studio one day in 1912.

Here is one of Picasso’s guitar constructions, sheet metal and wire:

“Picasso Guitars” is on view through June 6th. Enjoy the MoMA exhibition site I linked to above, it’s really fascinating. Lots to see and explore. Also check out this article and gallery slideshow on The Daily Beast. I’m going to get my head straightened out. See you soon, friends

Spiritual Body

Hi everyone!! Sorry I missed a Monday post – no music :sob: I got rather busy yesterday with errands, an appointment, and work, and didn’t get home until after 10. So I had no good chunk of blogging time. But I’m here now. Yay!

Last spring, I found myself in what I called a “sloppy computer” phase, and it seems I’ve managed  once again to achieve the computer desktop equivalent of that TV show “Hoarders”. I bookmark a ridiculous amount of stuff and forget to file things properly. It’s happened to my photos too. I published a post the first time called Buried Treasure in which I shared some of my forgotten photos, and I found another one that I think is really cool and interesting.

I took this picture at The Cloisters over the summer. This piece is fascinating in person:

The wall text description reads as follows:

Torso of Christ
Poplar, gesso, paint, and gilding
France, Auvergne, late 12th century
Said to be from the abbey at Lavaudieu

The inclination of the body and the alignment of the collar-bones suggest
that this sculpture was once part of a group depicting the Descent from the Cross. The naturalism of the anatomy, evident in the forward push of the abdomen, is remarkable for a sculpture of the twelfth century.

With those materials, that’s a true “mixed media” piece, and those paint colors are very unusual. They compliment the natural texture and tone of the wood. When viewed in the room, this sculpture has a very solemn and enigmatic presence. It’s eerie and strange, but also very arresting. It absolutely demands to be photographed, so I did!

Buried Treasure

In recent posts I’ve been boring you all about the massive spring house cleaning I’m doing. What I didn’t realize was that my computer is also in dire need of a cleanup. Does anyone else fall into that “sloppy computer” phase, or is it just me? Too many files, too many bookmarks, too many downloads, things I forgot to label and classify. I got careless and sloppy with everything from documents, images, music, etc, and now I don’t know what the hell is going on. It’s chaos I tell ya! Time to start dragging stuff into the trash I think.

But the good part about getting organized is that you find things you really want to keep, and can now archive them properly. In my iPhoto for example, I found some pictures I took at the Met that I probably intended to put on the blog or on Flickr and never got around to it. Some of them are worth sharing, so here we go.

Marble sculpture of Sappho by Comte Prosper D’Epinay, who worked in both France and Italy. This piece is from around 1895:

The favorite sculptor of my dear friend Bruce Williams is Aristide Maillol, so this one’s for him. It’s Maillol’s bronze masterpiece Night from 1909. A fascinating work, it is reminiscent of Rodin and his sensuality and naturalism but also of Brancusi and his abstract Modernism. I have done this closed, withdrawn pose many times, as have most artist’s models I’m sure. It’s relatively easy to hold for long lengths of time and looks great in both male and female figures. Artistically, it conveys a contemplative, almost world-weary mood along with a compact shape and voluminous forms:

Look at what else I found in my computer disarray; Orpheus! Man am I an idiot. I could have used this baby for my Orpheus post last week. I knew I had it! Damn. Anyway, this is Italian from the early 17th century:

At the age of 41, I still hold onto the fantasy that I will meet the man of my dreams, my knight in shining armor, at the Met. But actually he’s there every single day! The problem is he’s a little standoffish and never asks for my number

I always stop by this painting when I go to the museum. Lovely, charming, and very beautiful in person, it’s Roman Girl at a Fountain by Leon Bonnat. I love the feet.

That’s about it for now. I have others but I’m going to keep them on reserve, properly catalogued, for use in future posts. Hope you enjoyed this little treasure hunt with me. Ciao darlings!!

Magnificent Splendor

Art and friends. Is there a better formula for lovely times? I think not. Works splendidly for me, since art and friends are two major components of my life. Last Saturday was an occasion of loveliness. Lunch at the Met with my mom, and our friends Damian, Kathi, and Susan. Fabulous day, delightful conversation, and a post-lunch stroll through the museum galleries to top off a perfect afternoon.

At Kathi’s encouragement, we went to the the Charles Engelhard Court to view a work of art that inspires her. It was Harriet Whitney Frishmuth’s sculpture, “The Vine”, and boy was it worth it. Good call, Kathi! This 1924 bronze piece dances, bends, and undulates in the center of the gallery, a spectacular marriage of artistic grace and athleticism. Flaunting the mother of all backbends, the Vine sculpture commands that room. Feminism at its finest Here she is, the gorgeous star of the museum’s American WIng:

I copied the text description because it was an excellent read and provides a brief history of sculptor/dancer collaboration in the 20th century:

In the early twentieth century, sculptures of dancing women were produced in great numbers, inspired in part by the popularity of Isadora Duncan, Loie Fuller, and Anna Pavlova. Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her with musical accompaniment. Shown stretching upward and outward in imitation of a living vine, this lyrical nude balances on tiptoe in the ecstasy of performance, a grapevine suspended in her hands. The first version of the work, a statuette eleven and a quarter inches high, was enormously popular, cast in an edition of 396. In 1923, Frishmuth enlarged the sculpture to monumental scale, using Desha Delteil of the Fokine Ballet as her model.

The Vine girl from the other side:

Desha Delteil was an amazing dancer and model, famous for her work with Frishmuth and her ability to hold unbelievably challenging poses. But I had to break away to offer humble reverence to the great, GREAT muse just a few feet away. The one and only, New York’s own Audrey Munson, hanging on the wall, carved into the Melvin Memorial. Rock on, Audrey:

Still in the American Wing, more dazzling splendor, in the form of glass mosaic by Louis Comfort Tiffany. I took three pictures of this display, left side, center, right side:

The Metropolitan Museum ensures that you are surrounded with beauty at every moment. That includes the lobby, where fresh flower arrangements are displayed every day to greet you when you enter and bid you farewell when you leave. We had sunflowers on Saturday! Somewhere in heaven, Vincent Van Gogh was smiling:

Concupiscence

I need Rodin tonight. The sensual, sexual, erotic Rodin we all know and love. He will do my blogging for me this one time. As open and expressive as I tend to be, I am neither careless nor impudent. Out of respect for the privacy of another, I’m going to let the image and the music communicate on my behalf. The sculpture is Rodin’s Eternal Idol. The mp3 is a track from Zeppelin II.

Peace and love everyone . . .

Farewell Dina Vierny

Many thanks to Bruce, Bill, and Fred, and two anonymous blog readers, for sending me the New York Times obituary of Dina Vierny, the great muse of sculptor Aristide Maillol. She passed away on January 20th at the age of 89.

Like Bruce expressed in his email to me, the relationship between Maillol and Vierny is touching on many levels. I was particularly moved by how the introduction of the then 15 year old Vierny revived the stagnating artistic career of the aging 73 year old Maillol. Never underestimate the power of inspiration, or the galvanizing effect of when the perfect muse walks into an artist’s life. It is a catalyst in the truest sense of the word.

In her adulthood, Vierny became deeply involved in the French resistance during World War II. Jewish herself, Vierny took on the dangerous work of secretly transporting fleeing refugees of Nazism into Spain. Whenever she was arrested by the French police, Maillol protected his beloved muse, and used all his connections to release her from jail and pay for her lawyer.

I recommend everyone check out the whole New York Times article. It is a wonderful read. Of course my favorite passage is this one about Vierny encouraging the elderly Maillol to tackle nude work, describes the delightful affinity they felt for each other, and explains Vierny’s eventual acceptance of modeling:

“Ms. Vierny, who was intent on studying physics and chemistry, took to the role of artist’s muse reluctantly at first, posing during school vacations and glancing sideways at her schoolbooks on a nearby stand. The generous modeling fees and Maillol’s sense of fun won her over.

For the first two years, though, she kept her clothes on, not out of modesty — she and her friends belonged to a nudist club — but because of Maillol’s timidity. She herself later proposed that he try some nude studies. “Since he never asked, I figured he would never have the courage,” she told National Public Radio last year.”

This is the voluptuous Dina in Maillol’s The River, 1943. Really intense figurative sculpture:

Dina went on to become one of the most prolific art collectors of the 20th century, approaching it with the same passion with which she did modeling, politics, and human rights. In the 1970s, as a profound tribute to her friend and mentor, she founded the Maillol Museum.

I am saddened that another great muse has left us, but what a legacy she leaves behind. Goodbye Dina . . .