ABSTRACT
Even when it is known that a dancer co-operated with or posed for an artist, as in Isadora Duncan 's case, it is necessary to realize that what is presented is seen through the artist 's eyes. Sketches by Rodin and Bourdelle of Duncan dancing are very different in the impression they give of dynamism in Duncan 's movement. The former are more static and robust, the latter more fluid and delicate. Therefore, although such material is primary, by virtue of its origins, it needs to be used with considerable care and understanding. Knowledge of artists' personal styles and the art movements or schools with which they identified is required. It may also be revealing to view them as witting or unwitting testimony (see Evaluation of Source Materials p. 150).
