From 65438 to 0988, the French artist isabelle adjani, a strange girl, tried her best to put Camille's story on the screen, which finally revealed the deliberately reserved blank in this sculpture history. This two-hour movie depicts the whole process of heartbreak and life destruction in rare details. The ugliness of a master is an unavoidable topic. Rodin turned his back on his lover only because he coveted a ready-made and stable family life, but ironically, the "wife" who forced him to submit was just a mistress without a name. We don't know much about this "wife" who lived with Rodin until her death. All we know is that she looks mediocre, has poor taste and is mean to people. She gave birth to several children for Rodin, several years older than Rodin. As soon as the "wife" found out about Rodin and Camille, she threatened Camille to leave Rodin and even tried to hurt Camille with a murder weapon. In the face of this woman's roar, Rodin looked weak and could not protect the fragile Camille at all. When someone began to attack Camille for copying Rodin's works, Rodin was unable to clarify Camille's humiliation, which eventually led to a break between them. Even a master is not enough to support a woman's emotion and reason. A palace, if you destroy it, it will be difficult to repair. She said, "I can't share you with others. It's a struggle for me. You thought it had something to do with you. Actually, I am an old woman, but not her body. That girl who is getting older is also me; That person is me, not you. I gave him all my rough personality, and he gave me my vanity in exchange. In this way, one * * * has three me, and the void trinity. "
When Camille's eyes turn from innocence to malice, when she turns from brilliance to drunkenness and achieves nothing, when that angelic face becomes riddled with holes, please pay attention to those faces: as weak as starlight, as beautiful starlight submerged in the cold universe, at a loss. This is a life destroyed by the shadow of facts, a woman destroyed. In the dark basement, we saw Camille naked, hunched over, the mud in his hand smeared from side to side, and his mouth groaned with difficulty. This is no longer art, not creation, but like a person standing on the edge of life, shivering in the breeze, making madness as powerful as Feng Gang, pulling her heart rudely and savagely, and making a wild call together. Her house is colder than the cellar, and the steep rise of the Seine makes it more like a submerged grave.
This unruly woman who will never learn to obey the rules, this woman who always likes to run aimlessly instead of walking along the established route, this woman who always listens to her inner call and only responds to the original call of the distant wilderness! Camille has been running all her life, perhaps because she knows that she can spend only half the time as others-her other half will be stuck in her own life and tied tightly by the tights that bind crazy people.
It can be said that Rodin never faced up to Camille's talent. He doesn't want to face it, and he dare not face it, because she is so radiant. He thinks she is a woman he tries to possess and conquer. Camille finally walked into Rodin's world with herself as a model. Women, here, have become the objects of "seeing" and "shaping". Therefore, it can be said that her involvement in this way itself shows its unreliability, and her talent has become a secondary factor. What is important is that she has aroused Rodin's inspiration and desire. Women's talents have never been recognized. As the object of desire, she entered the room with her own body as the ticket. Camille followed Rodin to Paris, but she was not an independent creative individual, but Rodin's sculpture object and inspiration. Ironically, women who are "short" have what men have lost here, and they are secretly envied by men. However, they cannot obtain equal rights with men. The fact is that they have been worn away bit by bit and forced to give up the past. Camille is alienated from her family, even though she has been silently supporting her, trusting her father and her brother who talks about everything; She also lost her former creative partner, Camille's creative personality-she couldn't find it, in the shadow of Rodin. On the other hand, Rodin "peeped into" her aura, used her, or, more precisely, stole her talent. The power of authority cannot be surpassed and can only be used to bury women. He tried to fix her in his studio so as to keep her forever and cover her up. But Camille is different from ordinary talented women. She is a woman with unstoppable energy and passion. She can't stand being manipulated by men, and the impulse to share capital is too strong. Although in the middle, she once had the illusion of compromise for the recognition of love, Rodin's selfishness broke her dream. Fundamentally speaking, Rodin loves Camille because she has spirituality that ordinary women don't have. She is a "special" woman. But at the same time, he doesn't recognize her ability because she is a woman. This double negation failed Camille as a woman and an artist in the traditional sense. On these two levels, she was abandoned and destroyed.
When Camille found that she was actually "Rodin's worker, model, inspiration and companion", she didn't work enough, lived in Rodin's shadow and could never be independent, Camille threw herself into sculpture in despair. In that masterpiece modeled on her own body, "her agility and strength shocked him, and her bold posture distracted him." Camille's perceptual sculpture talent makes the world unbearable and Rodin afraid, because no one can pretend not to see the desire to run and cheer under the solidified stone statue. But Camille's success only attracted "hatred, jealousy, slander, silence or indifference". People suspect that she is just imitating Rodin, and even suspect that Rodin is doing it for her. Camille's bold transgression and provocation finally made her pay the price step by step: Rodin's betrayal, the eyes of the world, the narrow road of art, increasing mental pressure and being on the verge of collapse-the most fatal blow was that she lost her only child in her life through abortion. Rodin's blatant plagiarism of Camille's works completely dispelled her last attachment. She felt a chill rising from her heart-like her statue, it was placed at the exit of the exhibition, exposed to the sun and covered with dust, "crushed by the dark crowd." This is the inevitable fate of all female runners: betraying their loved ones and staying with nothing.
Camille's tragedy lies in that she is full of passion, often trapped in Dionysian drunkenness, but she is pursuing an Apollo ideal-longing for her talent to be recognized by society like Rodin-which is undoubtedly a utopian fantasy in such a male-dominated world. Her talent in sculpture is not only a talent, but an unstoppable torrent that stirs her soul all the time. However, in a society where women have no right to speak, they can't be released at all and can only be suppressed in a limited space. Her other tragedy is that she has illusions about Rodin and regards him as the key to that world. She believes that there is equality in the field of art, and this attempt to transcend gender is doomed to failure. Camille can grasp the soul of sculpture, but she cannot realize the rules of the game that the "world" must follow. Every meridian and cell of art is permeated with the control of male power. Women are excluded and rejected by the center, and the art they pursue belongs to men in this society. As a pagan who tries to break into the male-dominated world, Camille can only be regarded as a "crazy woman". She never got the key. Rodin's "cultivation" actually killed her and accelerated her tragic fate. As her brother Paul said, "all natural gifts will only bring her unpleasant things." It was a complete disaster and swallowed my sister. " This road shows the deepest sorrow of women in that era: even if it is brilliant, it cannot be fully displayed because it has no right to write and speak. On the contrary, it will face a more unfortunate fate of being destroyed because it challenges male authority. It's just that Paul's sentence contains a sense of destiny, and Camille's tragedy is not a fate tragedy at all, but a gender tragedy and a social tragedy.
"Camille, you can only succeed if you do as I say."
"Why should I do as you say?"
This is a conflict between gender and artistic concept. When the tutor can't control the students and the students want to rebel against the tutor, how can the love relationship continue? When Rodin questioned why Camille always showed pain in his works, the century genius obviously had no patience and tolerance to understand and listen to another way of love and artistic expression. Talent is indeed a knife for women, which can carve life crystal clear or cut itself into pieces. Experience sweetness in pain and become stronger after injury. Different people use this knife to carve different stories. Fatalism believes that when God generously gives talents, he will also take away other precious things. Camille, on the other hand, has no faith and is not afraid of fate. In fact, she is not crazy, and she didn't lose to Rodin. She just lost to herself who could never get out of the shadows.
She has her own name, Camille Claude. She is an independent sculptor.
In Camille's and Rodin's works, each has a "double portrait", which is strikingly similar to each other. It is Camille's Sagondaro and Rodin's Eternal Idol, in which a man kneels in front of a woman. But seriously, from different angles, they are all "themselves and each other".
In Camille's Sagondaro, a man kneels in front of a woman, clasping his hands tightly for fear of losing them, and his upturned face is full of love. At this moment, the woman's whole body and mind have been integrated with him. This work is very realistic, just like a scene in their love. But in Rodin's "Eternal Idol", the woman is completely another image. She is like a goddess. The man knelt at her feet, gently kissed her chest, fell in love with her, worshipped her, and looked pious. Rodin shows Camille and their love-the supreme position in his heart.
A work is earthly, flesh-and-blood and passionate; A work is sacred, pure and immortal. Together, these two sculptures are the most authentic Rodin and Camille from 1885 to 1898.
It can be said that from the beginning, their love entered the soil, gypsum and marble in Rodin's hands and was cast into eternal copper.
Rodin once said to Camille, "You are in all my sculptures."
1900, while Rodin became famous all over the world, Camille stepped into a deeper and deeper shadow of life. Camille can't stand the loneliness and hopelessness of being out of Rodin's life circle for a long time, and she doesn't want to be Rodin's student forever. From the day she fell in love with Rodin, she felt abandoned. With this feeling, she was entangled with Rodin for 15 years, and finally she was exhausted and depressed. Finally, she left Rodin on 1898, moved to a shabby house in Touraine Street, lived alone, refused to show up in any social occasions, and chiseled stones silently every day. Although she is brilliant, people still regard her as Rodin's disciple by impression, so her works cannot be sold. Poverty often makes her embarrassed and embarrassed. In absolute poverty and loneliness, Camille really felt that she was an outcast. Gradually, the love and praise for the past turned into resentment, and the original enthusiastic character became depressed. 1905, Camille became paranoid and intensified. 191March 10, an ambulance from the mental hospital in Hevilad drove to 66 Touraine Street. Several medical staff forcibly opened the door and saw Camille sitting there naked, with broken statues everywhere in the room. They had to start dressing Camille in tights to control her movements and take her to the hospital and lock her up.
This level is actually 30 years. Camille completely broke off contact with sculpture and the rhythm of artistic life became dull. She leads an endless and incredible life in a cell-like ward. She lived to 1943, and finally died in Monte Vergi mental hospital. Her body was buried in the cemetery reserved for the madhouse in Mon faville Cemetery, and the number engraved on the cross was 1943-392.
So what did Camille leave for herself? Camille's brother and writer Paul said sadly at her grave, "Camille, what is your precious gift for me?" Just this clearing under my feet? Nothing, nothing! "
Villenave Village, a beautiful French village. A 12-year-old girl is obsessed with kneading clay and cement ... She has a pair of beautiful foreheads, a pair of deep blue eyes as clear as the sea, a disdainful and delicate mouth, and auburn hair clustered around her waist ... She is more like a beautiful work of art and a quilt than those little people who are kneaded by her.
1943 In the autumn, an 80-year-old woman died in the Mont Vergi mental hospital on the outskirts of Paris ... When she died, she had no legacy and no relatives, only a crappy iron bed and a toilet with gaps.
People have long forgotten that her name was recorded in the first line of the first-class French sculptor; Forget that she is the author of those epic sculptures-Maturity, Whispering, Sagondaro and Poerxiusi.
Remember, she has her own name-Camille Claudel. She is an independent sculptor.