BBC - Culture - The tragic lover who never escaped Rodin’s shadow
Dec 4, Camille Claudel: Camille Claudel, French sculptor of whose work little for many years was best known as the mistress and muse of Auguste Rodin. By her relationship with Rodin had begun to crumble, and by May 10, Camille Claudel was Auguste Rodin's lover, muse and most gifted pupil. Camille's talent, but it's evident that their intense relationship bore. Quick link to a chapter: How Rodin and Camille Claudel met | Assistant, artist | muse and mistress. Letter from Auguste Rodin to Camille Claudel, C, [L ] Few direct allusions to their relationship can be seen in her sculptures.
The four caricatural drawings that Claudel sent to Rodin were even more caustic and explicit. The Age of Maturity is probably the work that most lends itself to an interpretation based on autobiographical narrative: Camille Claudel, Bust of Jeanne, [S.
In the first version, the man stands in the centre, torn between two women, one old, the other young.
The second version, full of powerful movement, intensifies the drama: Rodin has sometimes been accused of playing a role in the rejection of a work open to an interpretation that involved him personally. However, he never sought to prevent The Age of Maturity from being exhibited.
The play of colour and use of precious materials especially onyx marbleas in The Gossips and The Waveare evocative of art nouveau. Often modelled on a small scale, these works are both interior and introspective sculptures, with titles such as Deep Thoughtprivate coll. Her other works seem to indicate her waning inspiration, as she often reused previous compositions Paul Claudel Aged Thirty-Seven, S.
She was transferred the following year to a psychiatric hospital in Montdevergues Vauclusewhere she remained until her death in View image of Two Figures Her paranoic delusions made her afraid that Rodin would steal her ideas if she continued to work Just as heartbreaking, if not more so, is the fact that she never moulded a lump of clay again.
Her paranoid delusions made her afraid that Rodin would steal her ideas if she continued to work, a fear that she expressed in countless letters, as well as letters that simply expressed her distress. Designed by Adelfo Scaranello, the understated brick building with its large plate-glass windows incorporates the home in which the Claudels lived for three years, her father having been appointed a mortgage registrar for the town.
It was here that the teenage Camille produced her first acclaimed pieces of juvenilia, including a bust of Bismarck, one of Napoleon and a David and Goliath, now all alas lost. View image of Paul Dubois — statue Joan of Arc The three-storey museum includes the work of many of her contemporaries, including Paul Dubois and Alfred Boucher, both at the time acclaimed local sculptors. Dubois was a portraitist but also worked on a monumental scale, his equestrian statue of Joan of Arc is here on the ground floor as a life-sized plaster model the original bronze is in front of Notre-Dame Cathedral in Reims, while a copy resides in Washington DC, a gift from France.
The tragic lover who never escaped Rodin’s shadow
But many of the works are of the scale in which Claudel herself worked, with only the top floor devoted to her pieces, some of which are paired with thematically similar and intimate works by Rodin.
Her father, Louis-Prosper Claudel, dealt in mortgages and bank transactions. Her younger brother Paul Claudel was born there in Camille moved with her mother, brother, and younger sister to the Montparnasse area of Paris in Her father remained behind, working to support them. InClaudel rented a workshop with other young women, mostly English, including Jessie Lipscomb.
Rodin and Camille Claudel | Rodin Museum
Alfred Boucher had become her mentor, and also provided inspiration and encouragement to the next generation of sculptors such as Laure Coutan. Claudel was depicted by Boucher in Camille Claudel lisant,  and later she sculpted a bust of her mentor.
Before moving to Florence, and after having taught Claudel and other sculptors for over three years, Boucher asked Auguste Rodin to take over the instruction of his pupils. This is how Rodin and Claudel met, and their artistic association and their tumultuous and passionate relationship began.
Auguste Rodin[ edit ] AroundClaudel started working in Rodin's workshop. She became a source of inspiration for him, and acted as his model, confidante, and lover.
She never lived with Rodin, who was reluctant to end his year relationship with Rose Beuret. Knowledge of the affair agitated her family, especially her mother, who already detested her for not being a male child who would have replaced her first-born male infantand never agreed with Claudel's involvement in the arts.
Inafter an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until Claudel thus had to either depend on Rodin to realize them, or to collaborate with him and let him get the credit as the lionized figure of French sculptures.
Camille Claudel - Wikipedia
She also depended on him financially, especially since her loving and wealthy father's death. This allowed her mother and brother, who were suspicious of her lifestyle, to keep the money and let her wander around the streets dressed in beggars' clothes. The novelist and art critic Octave Mirbeau described her as "A revolt against nature: Louis Vauxcelles states that Claudel was the only sculptress on whose forehead shone the sign of genius like Berthe Morisotthe only well-known female painter of the century, and that Claudel's style was more virile than many of her male colleagues.
Others like Morhardt and Caranfa concurred, saying that their styles have become so different, with Rodin being more suave and delicate and Claudel being vehement with vigorous contrasts, and this might have been one reason that led to their break up, with her becoming ultimately his rival.
It has a decorative quality quite different from the "heroic" feeling of her earlier work.