ave been lacking" (Cladel, 1937, pp. 5-6). The analysis by Frisch and Shipley is that the poverty of Rodin's family had the effect of artistic inspiration. They cite the "secret power of genius [that] came to fortify his soul. In the heart of the slum disorder and its chaotic, cruel fight for life, the child Rodin nestled his troubles to the bosom of his dreams . . . [and] retrieved from the wretchedness and the anguish an inner, essential, undisturbed serenity" (Frisch and Shipley, 1939, pp. 15-16).
This analysis is consistent with Clark's view that the artists of nineteenth-century Europe were very much outside the social mainstream. In particular, Clark says, Rodin "was the last great Romantic artist, the direct heir of Gericault, Delacroix and Byron" (1969, p. 317). This observation assumes significance in light of Rodin's often tense relationship to his public and to his patrons. Set apart from the values and conceits of the prevailing social scheme, Rodin's temperament and priorities were bound to be unconventional, plainly "artistic" ra
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