05 October, 2005

Camille Claudel

Camille Claudel at the Musee Rodin link


"Claudel is not a pawn in feminist and anti-feminist discussion, or inter-generational battles within the art critic world. If praise for the Claudel work is faint and short, the problem is the scope of what is considered to be her work (for some the problem is also in appreciating the intensity of her expression; she is immoderate, to be sure).

We know Camille's hand whenever we see instantaneous design (as opposed to Rodin's long-agonized arrangement, splayed, configured, and recombined) or when we see demure sweet innocence (as opposed to melodrama lacking in emotional candor). We know Camille's input when we see a pose that makes sense to a dancer's eyes (Rodin's earlier and later works do not make sense). It's so obvious to anyone who has studied movement instead of pose.

Did Camille alter the figure? Does the woman keep her knees together? No further signature need be given. (This might not be fair, since Rodin's women become less exhibitionist just before he meets Camille... depending on what you think of the dates of Eternal Springtime and Fugitive Love, both of which evolved considerably in this period.) "
At wikipedia

of the Association Camille Claudel (french)

Very nice place to have a picnic lunch in Paris on a sunny day is the gardens of the Musee Rodin. Sit surrounded by roses and sculptures in the gardens of the mansion where many parisian artists lived and worked.

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