Camille Claudel and Auguste Rodin
...s imperceptibly in a new direction, that of studies made according to nature, such as "Causeuses"en 1894, or" Clotho "in 1893. It is for this period that Camille carries out the most representative of her art: The age wall in a first version in 1895, then in one second very expressive and dramatic version of the 1898, in which it projects her relationship with Rodin," Small Lady of the manor "in 1896, the" Hamadryade "and" the Wave "in 1897," The Deep Thought ", "the Dream with the corner of fire" in 1899, "Fortune" in 1900, "Scum" in 1901, "The Player of Flute" in 1904, "The Waltz", "the Abandonment" in 1905, which it carries out in several versions, plasters, then marble or bronzes. Forsaken by Rodin, and given up little by little by her family, it sinks with the passing of years which follows in material misery and is locked up in the morbid loneliness of a growing obsessional psychosis. Caludel goes until destroying part of iher last works, and to also destroy her papers, and her correspondence. In 1913, she’s admitted at the Psychiatric Hospital of City-Evrard, before being transferred to the Hospital from Montdevergues, close to Avignon, in victim with mania persecution complex, being worsening year by year until October 19, 1943 when it dies after thirty years of sequestration. It is the epic, significant force and tragedy of the scenes and the perfect control of the technique and the detail which make the originality of the work of Camille Claudel in the history of the sculpture compared to that of its eminent Master, Rodin, who will have remained finally only one traditional in a expressionism giving the impression of one trimmed modeled, contrasted and sometimes coarse. Camille Claudel died October 19, 1943. Auguste Rodin In the last years of his life, Auguste Rodin (1840-1917) was hailed as a magician and miracle worker, poet and philosopher, sublime genius, and master sculptor. By 1900, Rodin was already considered to be France's greatest living artist. No other modern artist has been so controversial, yet had such extravagant epithets and honors, nor (with the exception of Picasso) has had such international impact. In giving form to the suffering, malaise, and ennui of the late 19th century, as well as celebrating the human form, Rodin effectively liberated sculpture from the didactic, moralizing monuments of the past. To understand Rodin's accomplishments, it is necessary to place his career into the context of the Paris Sculpture Salon and the Ecole des Beaux-Arts, whose high-minded academic standards had dominated French art and patronage since the 17th century. With the hierarchy of artistic authority stemming from these government institutions, breaking from tradition was both daring and extremely risky for artists hoping to succeed in France. Rodin challenged the established styles and, in so doing, revolutionized sculpture. Born in Paris in 1840, Rodin was 14 years old when he enrolled in the government Ecole Spéciale de Dessin et de Mathématiques, a school for the industrial workers of France. This was known as the "Petit Ecole" to distinguish the school from the Ecole des Beaux-Arts (the "Grand Ecole") where, despite three attempts, Rodin failed to gain admission. After graduating in 1857, Rodin began working as a decorative sculptor. Throughout much of the 1860s and 1870s, he assisted in the workshop of France's premier decorative sculptor Albert-Ernest Carrier-Belleuse (1824-1887). Following the Franco-Prussian War of 1870-71, Rodin moved to Brussels, where he worked continuously for more than five years. In 1875 Rodin went to Italy to study the sculpture of Michelangelo. The trip provided the encouragement that Rodin needed to reject the prevailing dogma of academic sculpture, and propelled him into the next phase of his career. Two years later, Rodin returned to Paris, where he made his debut at the Salon with Age of Bronze (1875-76). The work immediately thrust Rodin into the center of major cont...