Evoking Rodin’s personal showcase, the Pavillon de l’Alma, this show brings together over 200 works, many of which have never been seen in public before. Centre stage are plaster casts made from Rodin’s clay models which the great sculptor then broke up, remodelled and reassembled into finished works, or stored for future use. Certainly an innovator and perhaps a modernist as Tate Modern argues, the show aims to capture a sense of Rodin’s genius in full creative flow and reminds us of his extraordinary ability to reflect the human condition.

Ambitious, talented, independent and politically committed, Maar was much more than Picasso’s inamorata and carved out a career of stunning variety that took her from advertising and erotica, through street photography, surrealism and landscape painting, to a final intriguing experiment with abstract photography. It’s just a shame that in their anxiety to restore the reputation of forgotten female artists, Tate Modern is reluctant to tell Maar’s story in the context of the men in her life and we learn little about Maar the person and the extraordinary company she kept. The real Dora Maar remains elusive.