In Fusco and Janson's seminal 1980 catalogue The Romantics to Rodin, June Hargrove speculates in a catalogue entry for the National Gallery of Art's identical model (bequest of William Nelson Cromwell fund, INV. 1977.58.1) that Carrier-Belleuse's L'enlèvement d'Hippodamie was in fact partially modelled by the young Auguste Rodin. Rodin worked in Carrier-Belleuse's studio from 1864 until 1871, the year in which the present model was conceived.
There is a marked difference to the materiality of the sculpture between the gentle, smooth surface and sensuous pose of the female nude and the bulky musculature and brute strength of the centaur. This difference in handling was not only employed to heighten the contrast between female and male, civility and violence, but also suggests that the model was a collaborative work. Hargrove notes strong similarities between the impressionistic and powerful figure of the centaur Eurityon and Rodin’s later production of the four titans that support the Vase of the Titans (circa 1879-80) which was designed and signed by Carrier-Belleuse but executed by his former pupil, Rodin. The twisting body of the centaur and the open, screaming mouth bring to mind the writhing, tortured figures in Rodin's Gates of Hell.
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