Camille Claudel - Wasted Talent
Camille Claudel
Camille Rosalie Claudel (December 8, 1864 – October 19, 1943) was a French sculptor celebrated for her lifelike creations in bronze and marble. Initially overlooked, she passed away without much acknowledgment, yet her artistic brilliance was later recognized, leading to a resurgence of interest in her work. The focus of numerous biographies and cinematic portrayals, Claudel is renowned for her sculptural masterpieces such as The Waltz and The Mature Age.
Camille Claudel was born in Fère-en-Tardenois, Aisne, located in northern France, as the eldest child in a family blending farming and gentry backgrounds. Her father, Louis-Prosper Claudel, was involved in financial dealings such as mortgages and banking, while her mother, Louise-Athanaïse Cécile Cerveaux, hailed from a Catholic farming and priestly lineage in Champagne. Shortly after Camille's birth, the family relocated to Villeneuve-sur-Fère. Her younger brother, Paul Claudel, was born in 1868 in the same town. They subsequently moved to Bar-le-Duc (1870), Nogent-sur-Seine (1876), and Wassy-sur-Blaise (1879), but continued to spend summers in Villeneuve-sur-Fère, where the austere landscape left a lasting impression on the siblings.
During her formative years from 5 to 12, Claudel received education from the Sisters of Christian Doctrine. It was during her time in Nogent-sur-Seine, at the age of 12, that Claudel's passion for sculpting began to take shape. She started working with local clay, honing her skills in sculpting the human form.
Claudel's mother, Louise, disapproved of her daughter's unconventional aspiration to pursue artistry. Conversely, her father showed more encouragement, presenting samples of her artwork to their neighbor, the artist Alfred Boucher, to gauge her talent. Boucher affirmed Claudel's considerable skill and urged her family to support her pursuit of sculpting studies. In 1881, Camille relocated to the Montparnasse district of Paris with her mother, brother, and younger sister, while her father stayed behind to provide financial support.
Claudel's father submitted her artwork to their neighbor, the artist Alfred Boucher, to evaluate her talent. Boucher affirmed her skill and proceeded to provide support, encouragement, and instruction, crucially introducing her to Rodin. Their association evolved into a romantic relationship, but she also served as his studio assistant and was recognized as an artist in her own right, earning Rodin's respect. Notably, the renovated Rodin Museum in Paris features a dedicated room showcasing her creations. However, their relationship soured as Claudel sought recognition beyond being viewed solely as Rodin's protégée, leading to devastating consequences for her.
In 1883, Claudel began working in Rodin's workshop, where she became a muse for him, as well as his model, confidante, and romantic partner. Despite their close relationship, Claudel never resided with Rodin, as he was hesitant to dissolve his longstanding commitment to Rose Beuret, his partner of two decades.
The revelation of the affair troubled Claudel's family, particularly her mother, who harbored disapproval toward Claudel's gender and artistic pursuits. Consequently, Claudel was compelled to leave her family home.
In 1891, Claudel assumed a role as a judge at the National Society of Fine Arts, an institution noted for its male-dominated atmosphere.
Following an abortion in 1892, Claudel terminated the intimate aspect of her connection with Rodin, although they continued to maintain regular contact until 1898.
Griselda Pollock, professor of social and critical histories of art at Leeds University, suggests that following the termination of their physical relationship, Claudel encountered difficulties securing funding for her ambitious artistic ventures. This challenge stemmed from censorship based on her gender and the sexual themes prevalent in her work. Consequently, Claudel faced a dilemma: either rely on Rodin for support or collaborate with him, thereby granting him acclaim as the celebrated figure in French sculpture. Additionally, she relied on him financially, particularly after the passing of her affectionate and affluent father. Unfortunately, her mother and brother, who disapproved of her lifestyle, retained control over the family's wealth, leaving Claudel destitute and forced to roam the streets in beggar attire.
For sculptors, creating large-scale compositions was crucial for gaining recognition and achieving success. However, the sales of smaller pieces did not yield substantial income, and Camille's financial support from her father was limited. Following her separation from Rodin, Claudel pursued her career as an independent artist. Financial constraints limited her ability to produce large bronze sculptures, so she focused on creating smaller pieces suitable for tabletop display. Camille honed her skill in crafting sculptures intended for personal rather than public appreciation. Among her notable works, The Waltz stands out, with multiple bronze copies made. One of these adorned the piano of Claude Debussy. Its allure lies in its unique fusion of movement and tranquility.
Following 1905, Claudel began exhibiting signs of mental illness. She destroyed numerous sculptures, went missing for extended periods, displayed symptoms of paranoia, and was diagnosed with schizophrenia. She accused Rodin of plagiarizing her ideas and conspiring to harm her. After her brother's marriage in 1906 and his subsequent departure for China, she secluded herself in her workshop.
Consequently, she descended into poverty, accompanied by depression and paranoia. She attributed her lack of success to Rodin, accusing him of appropriating her work, recasting her sculptures, and selling them to his influential acquaintances, as noted in a letter to Paul Claudel in 1910. By 1913, Camille's situation had worsened significantly. Dr. Michaux, the physician who recommended her institutionalization, described her dire condition, stating that she had sealed the windows of her studio, sold nearly all her possessions except for an armchair and a bed, neglected personal hygiene, rarely ventured out during daylight hours, and frequently went without food.
While Claudel's father initially supported her artistic endeavors and provided financial assistance, his death on March 2, 1913, was not communicated to her. Eight days later, at the behest of her younger brother Paul, she was admitted to the psychiatric hospital of Ville-Évrard in Neuilly-sur-Marne. Although the admission form stated she had been "voluntarily" committed, it was signed only by a doctor and her brother. Despite evidence suggesting she maintained clarity of mind while working on her art, doctors attempted to persuade Paul and their mother that Claudel did not require institutionalization. However, they insisted on keeping her there. Although some of her advocates raised objections, their efforts proved futile. With the outbreak of war, Camille was relocated to the Montdevergues asylum in southern France, where she remained until her passing in 1943.
For a period, the press accused Camille Claudel's family of confining a talented sculptor against her will. Her mother went so far as to forbid her from receiving mail from anyone other than her brother. Despite regular proposals from hospital staff to release Claudel, her mother steadfastly rejected each suggestion.
On June 1, 1920, Dr. Brunet, a physician, advised her mother to consider reintegrating Claudel into the family environment, but this recommendation went unheeded. Over 30 years, Paul Claudel visited his institutionalized sister on seven occasions—in 1913, 1920, 1925, 1927, 1933, 1936, and 1943—always referring to her in the past tense. Their sister Louise visited her only once, in 1929. Their mother, who passed away in June 1929, never visited Claudel.
According to Cécile Bertran, a curator from the Musée Camille Claudel, assessing the situation is complex, as modern experts who have examined her records conclude that she did indeed suffer from mental illness.
In 1929, Jessie Lipscomb, a former friend of Claudel's and a sculptor herself, visited her and vehemently denied the notion that Claudel was insane. Jessie Lipscomb, an old friend and colleague of Camille Claudel who had returned to England and married, discovered the whereabouts of Camille's hospitalization. She and her husband then visited her at Montdevergues. Following their reunion, Jessie vehemently asserted that Camille exhibited no indications of insanity.
During their visit, William Elborne, Jessie's husband, captured two photographs. One depicts Camille seated alone with her arms folded, while the other shows Camille and Jessie seated together. As described by Ayral-Clause:
"In the photograph, Camille appears with her arms folded around herself, seemingly oblivious to Jessie's gentle gesture reaching out to her. The extended period of isolation has left its mark; Camille appears vacant and withdrawn."
Similarly, Mathias Morhardt, a friend of Rodin's, criticized Paul Claudel for isolating his sister, whom he described as a genius.
Camille Claudel passed away on October 19, 1943, after spending 30 years in the Montfavet asylum (formerly known as the Asile de Montdevergues, now the Centre Hospitalier de Montfavet psychiatric hospital). Paul Claudel had been informed of his sister's terminal illness in September and made a difficult journey across Occupied France to see her, although he was not present at her death or funeral.
ter did not make the trip to Montfavet.
Above is Camille's natal chart. With Scorpio rising, she rejected any unfairness and injustice in life. She might give off an air of mystery, tranquility, and fascination. While this demeanor doesn't always imply a strong sexual allure, it could potentially do so. Scorpios are often perceived as the most sexually inclined sign in astrology, which is why Rodin's innate sensuality might initially intimidate others upon their first encounter with her.
The Moon in her chart is in the 5th house, conjunct Neptune. The 5th house is the house of art and creativity, and the Moon and Neptune (which is the higher octave of Venus) made her very talented and brought sensuality into her art.
I guess her weakest point was her manner of speech. On one hand, she could be extremely convincing (Mercury made a trine to MC), but on the other hand, she could be very edgy (Mercury in opposition to Uranus in the 8th house), which was very unfortunate. Saturn in the 12th house (among many other meanings, this house relates to sorrow, asylums, and mental problems) suggests incarceration in a mental facility.
We shouldn't overlook Camille without recognizing her during her periods of passion and artistic creation. An insightful representation of Camille is a plaster cast created by Rodin, portraying her in a piece aptly titled The Farewell. The hands and facial features are meticulously sculpted, offering an ambiguous interpretation. Are the hands reaching upward to wipe away tears, shield from the world, or grasp something?
Mature age
Camille Claudel
• Sculpture, 1893, 131×195×78 cm
Camille Claudel, Rêve au coin du feu, 1899–1905. White, grey-veined marble and bronze. N°16 sand casting Eugène Blot. Signed: C. CLAUDEL. Foundry stamp: EUG. BLOT / PARIS / 16. NMSk 2418.
