No one can ignore that Camille Claudel (1864-1943) was the eldest
sister of the poet and ambassador Paul Claudel, she was a student, model and the
unhappy mistress of Auguste Rodin and it was interned in 1913 to asylum-Evrard
City at the request of his mother and his brother Paul. Transferred in 1914 in
Asylum Montdevergues, near Avignon, she died in 1943. Many
biographies and film by Bruno Nuytten in 1988 popularized his name and destiny
disastrous. The conduct of Rodin and that of Paul Claudel to the designated him
today to embody the woman artist abused by male power, unknown in his work
humiliated in his body, sentenced to confinement to preserve the reputation of
whether Christian Claudel family. All this is undeniable. But all this
eventually cover the work of pages and images. It did comment that works, and
The Age Sakountala mature, which appear to be explained by its association with
Rodin and breakage.
The exhibition being held at the Rodin Museum. It shows in
chronological order as plaster, bronze and marble as possible, over
eighty. It focuses especially in the early days - the time before Rodin
- the last works in the years 1900. It presents various states of the
same parts, so that we can compare and shaped his drawing or its
reinterpretation in stone. Scientific approach and presentation sober.
The little-known works have reappeared, as a small bronze nude near a
fireplace onyx found by a buyer at the Miami flea market. This
presentation shows that the first working model according to the
Academy Colarossi then in a workshop independent allows the artist to
quickly master the techniques of sculpture and affirm as quickly about
almost unique - the human figure -- and its willingness to realism,
which makes it choose models as opposed to the beau ideal, old women
and bad boys. Her arrival at Rodin in 1884, confirms this trend,
accentuates - it does not create. The only difference, it is most true:
the violence that has hitherto represented in a narrative style now
passes through the gesture, the attack on the surface, disproportions,
gesture nudes. The body twist, musculatures are formed, mouths
shouting. What Rodin dares to Burghers of Calais or the Gates of Hell,
Camille Claudel the dares to Clotho. The plaster shows the Parque
emaciated body surrounded braids her hair, she braided the son of human
destinies. Two other versions, without hair or arms, push expressionism
one degree further. This work of occasions and variations that Rodin is
subjected to its own creations. But if the method is the same, the
destruction of the feminine ideal is solely because of the sculptor.
That is basically what is the most: not only Camille Claudel is a woman
artist, but in addition, she fails to comply with the canons of
classical statuary or neoclassical female youth, beautiful proportions,
volumes to caress. She subjects bizarre, it calls "new things", four
causeuses which cancanent in their corner, girls alone before the fire.
She likes onyx green absinthe that size and sometimes serious-shaped
wood eighteenth, sometimes monstrous wave that will engulf three small
baigneuses convicted. Allusion to herself? In any event, this art will
countdown conventions and practices of the sculpture - commemorative
lyrical. When Camille Claudel trying to comply with it, to live and
polished white marble busts of the family Maigret, she use violence to
achieve it. The violence added to each other, she could not
stand it for a long time.
"Camille Claudel 1864-1943", Musée Rodin, 79, rue de Varenne,
Paris-7e. Mo Varenne, Invalides, Saint-François-Xavier.
Tél. : 01-44-18-61-10. Until 20 july 2008.