The art historian Ruth Butler was working on her Ph.D. in the late 1950s when she first visited the Musée Rodin in Paris. She would later remember being struck by an arresting plaster portrait of Rose Beuret, Auguste Rodin’s first muse and long-suffering life partner.

Her hair was tangled, as if windblown. Her gaze was penetrating. She was beautiful. Ms. Butler thought the sculpture was the most engaging piece in the room. The museum’s catalog noted the relationship, describing Rose as “hidden in the shadow of the master.”

ImageAuguste Rodin, “Young Girl With Roses on Hat,” 1865. Rose Beuret, the artist’s long-suffering partner, was the model for this sculpture.Credit...Rodin Museum Paris, via Masterpics/Alamy

On the same visit, Ms. Butler spotted a small oil painting of an apprehensive-looking woman who seemed to be holding back tears. It was described simply as the only existing portrait of the sculptor’s mother; little was known about her, the catalog said, except that she was very pious.

“She was a vibrant 28-year-old,” Ms. Harris said. “Her name, Amber Nicole Thurman, and I promised her mother I would say her name every time.”

Decades later, when Ms. Butler was researching what would become her expansive and definitive 1993 biography, “Rodin: The Shape of Genius,” the painting was still in the museum — and still identified as Rodin’s mother. But by then, Ms. Butler knew better. It was a portrait of Rose.

“I said, ‘That’s ridiculous,’” she told The New York Times. “I thought that if even the Musée Rodin doesn’t care about Rose, then I should write about this.”

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

online slot machines for real money

Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber? Log in.

Want all of The Times? Subscribe.kingbet