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拍品專文
Reine-Marie Paris has confirmed the authenticity of this bronze.
Shortly after arriving in Paris in 1883, Camille Claudel was introduced to Auguste Rodin by the sculptor Paul Dubois. By all accounts she was not only young and beautiful, but also a promising sculptor and the following year she became apprentice to Rodin. At the time Rodin was working on La porte d'Enfer and Claudel not only modeled for some of the damned souls but, according to Mathias Morhardt, "Rodin allowed Camille to model the hands and feet of several of his larger compositions" ("Mlle. Camille Claudel," Mercure de France, March 1898, p. 712). She was the model for Rodin's marbles La pensée (1886, coll. Musée Rodin) and L'Adieu (1892, coll. Musée Rodin), as well as many other pieces and there is speculation that she, and not Rodin, carved Galatée (circa 1890) (ibid., p. 17).
Claudel and Rodin worked together for over a decade and although she became his mistress his letters reveal he considered her his equal. While the two sculptors were drawn to common themes of lovers in their work, their treatments of the subjects were essentially different. Rodin's sculptures were dependent on a structure of a dominant, usually male figure, whereas Claudel created more symbiotic images with a feminine sensibility. According to Reine-Marie Paris the two sculptors worked in a similar manner focusing on the expression of a gesture, creating tactile surfaces and building up forms. In 1898, Claudel officially broke off her relationship with Rodin. Devastated by this breakup, Claudel became a recluse from society and was later committed to an asylum, where she died in 1943.
Claudel began work on La valse, première version in 1892 and from her first study she worked up a life-sized plaster which she exhibited at the Salon of 1893. The musical theme is recurrent in Claudel's work and appears again in her later Joueuse de flûte and Aveugle chantant. She may even have had a brief affair with the composer Claude Debussy in 1890. Claudel left few records of her intentions in her work but the comments of her brother, the poet and playwrite Paul Claudel, with whom she shared her confidences, may shed some light on the present piece, "The drunken La valse, shaken and lost in the very fabric of the music, in the storm and whirlwind of the dance" (ibid., p. XIX). In this highly evocative bronze the two self-absorbed lovers appear to be caught in motion, anchored only by the drapery. According to Reine-Marie Paris, "Drapery, in Camille Claudel's work, takes something of the role of Wagnerian recitative which, adopting, enveloping, developing the theme, constitutes its unity within the total radiance." (ibid., p. xix). In La valse she held nothing back in her expression of the intensity of life.
Shortly after arriving in Paris in 1883, Camille Claudel was introduced to Auguste Rodin by the sculptor Paul Dubois. By all accounts she was not only young and beautiful, but also a promising sculptor and the following year she became apprentice to Rodin. At the time Rodin was working on La porte d'Enfer and Claudel not only modeled for some of the damned souls but, according to Mathias Morhardt, "Rodin allowed Camille to model the hands and feet of several of his larger compositions" ("Mlle. Camille Claudel," Mercure de France, March 1898, p. 712). She was the model for Rodin's marbles La pensée (1886, coll. Musée Rodin) and L'Adieu (1892, coll. Musée Rodin), as well as many other pieces and there is speculation that she, and not Rodin, carved Galatée (circa 1890) (ibid., p. 17).
Claudel and Rodin worked together for over a decade and although she became his mistress his letters reveal he considered her his equal. While the two sculptors were drawn to common themes of lovers in their work, their treatments of the subjects were essentially different. Rodin's sculptures were dependent on a structure of a dominant, usually male figure, whereas Claudel created more symbiotic images with a feminine sensibility. According to Reine-Marie Paris the two sculptors worked in a similar manner focusing on the expression of a gesture, creating tactile surfaces and building up forms. In 1898, Claudel officially broke off her relationship with Rodin. Devastated by this breakup, Claudel became a recluse from society and was later committed to an asylum, where she died in 1943.
Claudel began work on La valse, première version in 1892 and from her first study she worked up a life-sized plaster which she exhibited at the Salon of 1893. The musical theme is recurrent in Claudel's work and appears again in her later Joueuse de flûte and Aveugle chantant. She may even have had a brief affair with the composer Claude Debussy in 1890. Claudel left few records of her intentions in her work but the comments of her brother, the poet and playwrite Paul Claudel, with whom she shared her confidences, may shed some light on the present piece, "The drunken La valse, shaken and lost in the very fabric of the music, in the storm and whirlwind of the dance" (ibid., p. XIX). In this highly evocative bronze the two self-absorbed lovers appear to be caught in motion, anchored only by the drapery. According to Reine-Marie Paris, "Drapery, in Camille Claudel's work, takes something of the role of Wagnerian recitative which, adopting, enveloping, developing the theme, constitutes its unity within the total radiance." (ibid., p. xix). In La valse she held nothing back in her expression of the intensity of life.