of total naturalism, of the unbelievably and monstrously lifelike.”3 In contrast, it was a writer contemporary with Degas, Joris-Karl Huysmans, whose artistic commitments at this point were suspended between a radical naturalism and a more Symbolist aesthetic, who perhaps best got to the heart of what makes this sculpture, and its sophisticated sculptural experimentation with effects of illusionistic lifelikeness, such an endless source of fascination and unease. In his review of the 1881 Impressionist exhibition, he began by noting how “the terrible realism of this statuette produces an evident malaise” in the minds of a public accustomed “to the cold inanimate whiteness” of sculpture they knew. He then went on to make a strong claim for its peculiarly captivating power: “At once refined and barbarous with its industrious costume, and its colored flesh which palpitates, furrowed by the labor of the muscles, this statuette is the only truly modern attempt I know of in sculpture.”4 It was as if by pushing to the limit the apparent incompatibility of illusory lifelikeness and sculptural artifice that a convincingly real figure might be realized in modern sculpture—one that blurred the boundary separating forms thought appropriate to the art of sculpture and those associated with the material conditions of proletarian existence.

中文翻译：

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印象派时代的色彩：商业，技术和艺术，作者劳拉·安妮·卡尔巴（Laura Anne Kalba）

相比之下，这是一位与德加斯同时代的作家乔里斯·卡尔·休斯曼斯（Joris-Karl Huysmans）的当代作家，他的艺术承诺此时停留在激进的自然主义和更具象征意义的美学之间，他也许是最好的深入了解了此雕塑的制作原理，以及对错觉逼真的效果的复杂雕塑实验，这是无穷无尽的迷恋和不安之源。在他对1881年印象派展览的回顾中，他首先指出了“小雕像的可怕现实主义如何在他们熟悉的雕塑的“习惯于冷无生命的白色”的公众心中产生明显的不适。然后，他继续以其独特的吸引力而强力宣称：“立即以其勤奋的服装变得精致而野蛮，