On 5th February 1989, the review section of The Observer carried a full-page article on a film about Camille Claudel, the sculptress who was Rodin's mistress and who spent the last thirty years of her life in a mental asylum. The iconography of this page, supposedly concerned with the film and the woman, was telling. A large central image of Rodin, arms crossed and staring masterfully forward, is ringed by three, small, peripheral images of Claudel. Each is (of course) a photograph: one of the woman herself, one of the statue of her by her lover Rodin, and one of the actress who represents her in the film. The images display the slippage between women and artistic representations or creations (of women)—a slippage which is at the heart of the Pygmalion story. The title of the article is Love that turned to stone.
In Metamorphoses 10.148-739, Ovid has the master-poet, Orpheus, react to the double loss of his wife, Eurydice, by singing to surrounding nature a set of tales, including that of Pygmalion (245-97). Pygmalion, it will be remembered, created a beautiful statue, with which he fell in love. With the help of Venus and in response to the artist's erotic attentions, the statue came to life.