Rodin and Camille Claudel | Rodin Museum
The tumultuous love between Auguste Rodin and Camille Claudel. Their relationship certainly went beyond and became a relentless. narrow parameters of her relationship with Rodin despite the presence of themes of destiny and fate. .. Eisenwerth, Auguste Rodin and Camille Claudel (New York: Prestel, );. Caranfa women in Claudel's studio advice in his absence . A photograph dating from shows Camille Claudel, then aged 45, in her studio, On the advice of his friend Alfred Boucher, an established sculptor, Louis-Prosper Letter from Auguste Rodin to Camille Claudel, C, [L].
Most modern authors agree that she was an outstanding genius who, starting with wealth, beauty, iron will and a brilliant future even before meeting Rodin, was never rewarded and died in loneliness, poverty, and obscurity. Stephen Barr reports that Debussy pursued her: By thirty, Claudel's romantic life had ended. She destroyed many of her statues, disappeared for long periods of time, exhibited signs of paranoia and was diagnosed as having schizophrenia.
When he died on 2 MarchClaudel was not informed of his death. The form read that she had been "voluntarily" committed, although her admission was signed by a doctor and her brother. There are records to show that, while she did have mental outbursts[ clarification needed ], she was clear-headed while working on her art. Doctors tried to convince the family that she need not be in the institution, but still they kept her there.
On 7 September Camille was transferred with a number of other women, to the Montdevergues Asylum, at Montfavetsix kilometres from Avignon. Her certificate of admittance to Montdevergues was signed on 22 September ; it reported that she suffered "from a systematic persecution delirium mostly based upon false interpretations and imagination". Her mother forbade her to receive mail from anyone other than her brother.
Camille Claudel An Unbelievable Tragic Life -
The hospital staff regularly proposed to her family that Claudel be released, but her mother adamantly refused each time. Brunet sent a letter advising her mother to try to reintegrate her daughter into the family environment. Nothing came of this.
Paul Claudel in Paul Claudel visited his confined sister seven times in 30 years, in,, and He always referred to her in the past tense. Their sister Louise visited her just one time, in Her mother, who died in June,never visited Camille.
Rodin's friend, Mathias Morhardt, insisted that Paul was a "simpleton" who had "shut away" his sister of genius.
Her brother Paul had been informed of his sister's terminal illness in September and, with some difficulty, had crossed Occupied France to see her, but was not present at either her death or funeral. Claudel was interred in the cemetery of Montfavet, and eventually her remains were buried in a communal grave at the asylum. In order to be nearer her, he rented a delapidated 18th-century mansion, the Folie Neufbourg.
One should, however, talk more in terms of a process of sublimation of events in her private life; events which, through the powerful expressivity of her sculptures, acquired a more universal dimension. The subjects of her sculptures may be read in several ways: Her works frequently reflect anxious questions about human destiny: Sakuntala and its subsequent variations in materials and titles — the marble Vertumnus and Pomona and the bronze Abandon — gradually evolved from Hindu legend to Greco-Roman mythology, then onto psychology and innermost emotion.
The Waltz, completed inbut not shown at the Salon untilwas a pretext for experimenting with different materials. Nonetheless, the critics did not spare her: Just be yourself; the praise you earn will only be more sincere.
Isolated and modified, the female figure from The Waltz thus became Fortune in the bronze cast in One of the three Fates, Clotho spun the thread of human life before it was cut. This distressing representation of old age and passing time is both a symbol of the torments Claudel was suffering at this time and an allusion to Rose Beuret, whom Rodin refused to leave. The erotic tension of this sculpture has made it one of Rodin's most celebrated "amorous" works.
What is unusual about the sculpture is that although the woman is not an active participant of the love fest, her pose clearly signifies an expression of surrendershe is "allowing " all this to happen, but she is not totally involved.Camille Claudel, a treasured legacy
The man is unusal too in that, he does not attempt to embrace the woman, and yet, the position of his body indicates that he feels very close to her and his head is bent forward to place a kiss under her breast. The female figure in the sculpture has a certain sphinx-like quality. To the man kneeling before her, she seems as mysterious and enigmatic as Camille was to Rodin. It almost appears that the man is afraid to touch her with his hands for fear of breaking the spell or ruining the mirage.
Camille Claudel An Unbelievable Tragic Life
A lot of Camille Claudel's work was also autobiographical. Take L'Age murfor instance. Schmoll seems convinced that the sculpture is a symbolic embodiment of the menage a trois between Rodin, Camille and Rodin's mistress, Rose Beuret. In the sculpture the man's gait seems to be unsure, and although the upper part of his body is half-bent towards the younger woman Camille was atleast 23 years younger than Rodin who is on her knees in an imploring gesture, the man's trailing hand has already slipped out of her grasp.