Camille Claudel E-Book

Victoria Charles

• Herausgeber: Parkstone International
• Sprache: Englisch

Seitenzahl: 60

Veröffentlichungsjahr: 2018

Beschreibung

Delve into the exquisite, sensuous sculpture of Camille Claudel with this in-depth look at her remarkable body of work. Along with many of her paintings and drawings, her sculpture is examined with a focus which reveals every intricate detail of her incredible renditions of movement and human emotions. Fascinated from a young age by crafting models with her hands, French sculptor, painter, and draughtswoman Camille Claudel (1864-1943) fought to overcome the hurdles placed in the way of female artists and carved a place for herself in the history of art. Following an apprenticeship with Alfred Boucher, Claudel entered the studio of Auguste Rodin, with whom she had a tumultuous ten-year love affair which often threatened to eclipse her art. The two artists had a profound impact on one another, each of their features appearing in the other’s work. After breaking off the relationship to forge her own path, Claudel created a stunning, incredibly modern oeuvre. Though many were destroyed by her own hands, those that remain are a powerful testament to her artistic genius.

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Author:

Victoria Charles

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ISBN: 978-1-68325-682-3

Victoria Charles

Camille Claudel

(1864-1943)

Contents

Biography

Prologue

Chapter One

Chapter Two

Chapter Three

Chapter Four

Chapter Five

Chapter Six

List of Illustrations

Camille Claudel, 1884

Photograph

Biography

1864:Camille Claudel is born on 8 December in Fère-en-Tardenois as second child of Louis-Prosper Claudel and Louise-Athanaïse Cerveaux.

1876:Camille models her first figurines in terracotta: David and Goliath, Bismarck and Napoléon.

1879:Presumably in this year Camille meets the sculptor Alfred Boucher who recognises her gift and tries to convince her family of the necessity of an academic education.

1881:In Paris she attends courses in drawing and anatomy at the Académie Colarossi. Her first remaining signed work is the Paul Claudel at Thirteen.

1883:Rodin supervises the class of Camille and her friends in their studio at Rue Notre-Dame-des-Champs. That autumn Rodin and Camille begin an intimate relationship.

1884:Camille enters the atelier of Rodin as trainee; she also becomes his model. Camille also continues to work in her own name: Torso of a Crouching Woman and Young Roman (My Brother at Sixteen).

1885:Camille becomes an official collaborator of Rodin and works together with her friend Jessie Lipscomb in his atelier.

1888:Rodin rents a studio and works there together with Camille. Because of the fact that the two sculptors work and live so closely together, it is difficult to tell who influences whom.

1894:Camille breaks off her love affair with Rodin and tries to become more independent in her artistic career.

1896:Mathias Morhardt (editor of the journal Le Temps), Mirbeau and Rodin try to support her by mediating between her and the collectors. But most of these arrangements fail because of Camille herself.

1898:Camille definitively terminates the relation with Rodin and turns away from him and his supporters.

1900:Camille shows three works at the World Exhibition and meets the gallery owner Eugène Blot, who will become her representative and supporter.

1904:After a long phase of permanent criticism by the public and by her family about her way of living for her passion, she is now tormented by heavy doubts about her decision.

1905:Different critics publish detailed articles and praise her exhibition with Bernard Hoetger as a great success for Camille Claudel, but this acknowledgement does not change her bad mental state.

1905-1906:Camille shows first signs of isolation and neglect. Her friend Henri Asselin writes that she systematically destroys what she has created throughout the whole year.

1908:In December she has her last solo exhibition at the Gallery Blot with eleven works.

1913:Her father dies at Villeneuve on 2 March. Camille is not present at the funeral; presumably she was not informed by her family. Eight days later, Camille is admitted to a mental home at the instigation of her family.

1914:Rodin sends money to Mathias Morhardt to pay Camille’s hospital costs. Morhardt suggests that he dedicates one room of the Hôtel Biron to Camille‘s work and Rodin does so. Camille is sent to the hospital of Montdevergues at Montfavet, near Avignon.

1915:Her mother forbids Camille any contact besides her brother and herself.

1929:Louise-Athanaïse dies in Villeneuve on 20 June.

1943:Camille Claudel dies on 19 October and is buried the next day in the cemetery at Montfavet.

Prologue

Although Camille Claudel’s name has always been connected with Auguste Rodin, there is no denying that she was an artist in her own right. Camille’s strength came from within; she endured the anger and disapproval of family members, Rodin’s refusal to marry her, and the rejection of her work by several French ministries, who, in their capriciousness then denied her commissions. She chose a difficult medium to work in, yet from this medium came a sensuality, a love of the human body, and emotions so deep that we are caught up in what she must have felt during the creative process. Many of her works have disappeared or were destroyed, but enough remain that we can see the essence of the person that was Camille Claudel.

Chapter One

Camille Claudel was born on 8 December 1864 in Fère-en-Tardenois, a village in France’s Champagne district. Citizens of the area were hard-working conservatives concerned with making a decent living under society’s scrutiny and approval. Many earned their living as farmers, shopkeepers or artisans. Her parents, Louis-Prosper and Louise-Athanaïse Cerveaux, had married in 1860. Louis-Prosper, educated by the Jesuits in Strasbourg, was employed as a registrar of mortgages in several towns, including Bar-le-Duc, where in 1870 Camille first attended a school conducted by the Sisters of Christian Doctrine. Although essentially middle class, the Claudels considered themselves a step above others in the community. Louise-Athanaïse’s father had been a physician and it was she who provided a home in Villeneuve-sur-Fère, about eight kilometres from Fère-en-Tardenois, and where the family eventually settled about four years later. Although they moved several times over the years, the family always came back to Villeneuve-sur-Fère for the summer.

Camille’s sister Louise was born in 1866 and her brother Paul two years later. Paul was to become a diplomat, poet, and the sibling that Camille turned to during times of stress. The family’s relationships often became strained and volatile. Camille’s mother, a plodding woman with strong moral sensitivities, would later refuse to see, speak to or support her daughter. Camille’s support came primarily from men; within her family it came from her father and Paul.

Within the village of craftsmen and construction workers, old hatreds, gossip and backbiting smouldered constantly. Most of the small-minded atmosphere was lost on Camille once she discovered the red clay used in constructing roof tiles for buildings in the area. When she found that by digging her fingers into the clay and working her hands around it she could form intricate shapes that held their form after they were baked in the kiln on the family property, nothing else held her attention. From then on, she forced others – usually friends and siblings – to share her interest, employing them as clay gatherers, models or plaster-preparers. As they tired of her projects, they usually disappeared when they saw Camille coming.

Man’s Bust or Bismarck, c. 1881

Bronze, cast posthumously, 27 x 24 x 23.5 cm. Private collection

Eugénie Plé, 1881

Oil on canvas, Unknown dimensions. Location unknown

Diana, c. 1881

Plaster cast, 18 x 10.5 x 7 cm. Private collection

Paul Claudel at Thirteen, 1881

Bronze, 40 x 35 x 22 cm. Musée-hôtel Bertrand, Châteauroux

Torso of a Standing Woman, 1884 (or 1888?)

Bronze, 49 x 16 x 35 cm. Lucile Audouy Collection

Bust of Jessie Lipscomb, c. 1883-1885

Terracotta, 45 x 23 x 12 cm. R. Elborne Collection

Crouching Woman, 1884-1885

Bronze, cast posthumously (2000), 36 x 36.5 x 24 cm. Private collection

Torso of a Crouching Woman, c. 1884-1885

Bronze, 35 x 27 x 20 cm. Private collection