This candour, and the quality of her art, have rightly earned her dedicated fans, just as Frida Kahlo’s paintings have by communicating her physical pain and similar loneliness. The Waltz, developed in 1889-90, but not shown at the Salon until 1893, was a pretext for experimenting with different materials. The young female figure is known as The Implorer; Claudel’s variation of the older woman, Clotho (1893), loops skeins of stringy hair around her emaciated body in an image that invites parallels with Donatello’s wooden Mary Magdalene (c. 1455). I didn’t know anything about Camille Claudel, the artist who had create such a beautiful and emotional representation of a couple dancing.. Photo: Marco Illuminati; © Musée Camille Claudel, On a circular stand, in a corner room of the new Musée Camille Claudel, there are four versions of La Valse (The Waltz), a work that Claudel (1864– 1943) began in 1889 and which reflects the symbolist and art nouveau taste of the period. The last portrait Claudel made was of her younger brother Paul, a writer and diplomat. The Musée Camille Claudel is designed by Adelfo Scaranello, who has inserted simple, light-filled rooms into the brick shell of the former home of the Claudel family, and designed an extension. Your email address will not be published. Camille was wilful, possessive and jealous, demanding that he sign a bizarre contract in October 1886; the conditions included a promise to renounce other women, including favourite models and prospective students, to bring her along on his travels, and to marry her in 1887. "The events of my life would fill more than a novel. Musée Camille Claudel, Nogent-sur-Seine. A marble version of this sculpture was purchased by the painter Eugène Carrière in 1893. Rodin's influence was still apparent, less in the subject or the form than in the syntax that allowed figures to be reused differently in new works. La Valse or Les Valseurs (The Waltz in English) is my favourite sculpture, I can remember the first time I saw a picture of it in an art history book years ago. After a visit to the Salon in early 1883, the painter Léon Lhermitte wrote to Rodin: ‘It was with great pleasure that I saw Mlle Claudel’s figure of a man. Camille Claudel (Fère-en-Tardenois, 8 december 1864 – Montdevergues, 19 oktober 1943) was een Frans beeldhouwster.Zij speelde een grote rol in het leven van de beeldhouwer Auguste Rodin.Camille Claudel werd op het platteland in het noorden van Frankrijk geboren, in het departement Aisne.Ze was de oudste zuster van de dichter, dramaturg en diplomaat Paul Claudel Buy The Waltz by Camille Claudel - La Valse - Contemporary Bronze Sculpture - Modern Art Statue - Musée Rodin Paris - 100 % Bronze - Love Figure - Couple Figurine - Erotic Nude - Luxury Gift Idea: Statues - Amazon.com FREE DELIVERY possible on eligible purchases Arts & Entertainment > Hobbies & Creative Arts > Artwork > Sculptures & Statues. This is a brilliant and considered review. This is currently being commemorated in an ambitious exhibition at the Grand Palais in Paris (until 31 July). Others may indeed be by her or another assistant. By this point in her career, Claudel was convinced that she was being persecuted, especially by Rodin; in her letters she complains of his ‘malevolent hand working behind the scenes to divest me of all my friendships’. Claudel’s relationship with Rodin developed quickly and they embarked on an intense affair that lasted for more than 10 years. Combining bronze and marble, one version features logs in the hearth, the other leaves the setting empty. It would take an epic, the Iliad and the Odyssey, and a Homer to tell my story "I won't recount it today, I don't want to sadden you. Perseus and the Gorgon (1902), commissioned by Countess Arthur de Maigret and carved by François Pompon, is a large marble endowed by Claudel with frightening neoclassical overtones; one assumes that the raised trophy head of Medusa is a self-portrait. The contact between the couple seems sweaty and tense, and more human compared to Rodin’s lyrical couples in Eternal Idol and Fugit Amor, dating to the same period. From the outset, Claudel absorbed the method Rodin advocated, to ‘model solely by profiles’ and to pay close attention to the individual model as they moved freely. One is in green-glazed stoneware, which emphasises the vegetation that was modelled around the base, extending up to the woman’s waist and around the man’s genitals, as if threatening to unbalance the swaying couple. After the family committed an admittedly ravaged Camille to a mental asylum in 1913, her persecution-complex continued.