Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the figures seem ready to take flight. As Ionel Jianou and Cécile Goldscheider have noted: "Rodin is an artist who can see and dares to express in all sincerity what he has seen. He discovers the enchantment of light and its resources, the vibration and intimate movement of surfaces and planes, the throb of passion that animates form. He uses 'highlights, heavy shadows, paleness, quivering, vaporous half-tones, and transitions so finely shaded that they seem to dissolve into air', giving his sculpture 'the radiance of living flesh'" (Ionel Jianou & Cécile Goldscheider, op. cit., p. 19).
From dealing with love in an allegorical way, Rodin began treating it in more human terms. As evident in the present work, there is a marked increase in the eroticism of his art and a corresponding growth in the daring movement of the poses which could be a reflection of the artist's studio practice allowing the models to move freely and independently. Rodin himself proclaimed: "Sculpture does not need to be original, what it needs is life... I used to think that movement was the chief thing in sculpture and in all I did it was what I tried to attain... Grief, joy, thoughts—in our art all becomes action" (quoted in ibid., pp. 19-20).
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