Analysis:
Camille Claudius dreamed of becoming a talented sculptor as respected as Rodin. She met Rodin in the winter of 1885. Her teacher, Mr Boucher, entrusted her to Rodin as a student before going to Rome. This is a master who has been praised one after another. I heard that his model had an affair with him, and women were fascinated by him. Others say that one of his sculptures comes directly from the human body because it is incredibly realistic and perfect. Rodin burst into tears for this slander, and Camille has no doubt that this perfection is the crystallization of selfless labor of genius.
Camille asked Mr Rodin for a marble. She wants to carve a bust for her brother Paul. In this family, besides his father, Camille loves his brother Paul the most. Although he is still very young, he can write excellent poems.
Dad, Mr. Claudius is back. Camille met him at the station. Before entering the house, my father stuffed some money for his favorite daughter. But this scene was still seen by my mother. She stood in the upstairs window and looked around. She cried and shut herself in the back room, scolding her family for lying to her, and everyone suffered for a fool who was crazy about playing with mud.
In order to express gratitude to the teacher, Camille carved a foot with slight blue veins and gave it to Rodin. This work made Rodin immediately decide to invite Camille as his assistant to participate in the large-scale sculpture work of the museum memorial.
That day, Camille was working on the scaffold. She accidentally saw Rodin fiddling with the plump naked female model in front of her with an ambiguous action. Camille was shocked. Somehow, her eyes were full of tears.
In the evening, in Paul's room, Camille whispered to her brother that she didn't want to go to Rodin's house again. Paul looked at his sister sympathetically. Maybe Rodin doesn't even know what she's thinking. The legendary figure's actions are unimaginable bohemian and arbitrary. Hugo, whom he worships, said such a thing.
Early the next morning, Rodin asked if there was any news from Camille. His assistant shook his head and suggested hiring another one. "no!" Rodin refused without thinking. He decided to go to Camille himself. The carved feet on the table told him that she was an irreplaceable assistant and a superb sculpture genius.
Rodin's visit made Camille's resentment and grievances disappear. When Camille posed for a nude female model, Rodin saw Camille learn what it took him years to learn.
Hugo died, and people ran around telling each other, which was embarrassing. The death of Hugo made Rodin feel tired of life. He was inspired by the nude model and was at a loss. So, Camille decided to give her fate to Rodin for the first time, and she boarded the base of the model. The naked Camille showed the master a perfect Eve. The rich skin and body like white jade disturbed Rodin's mind. He couldn't help touching and kissing her.
The Claudius family returned to their hometown and spent their holidays in Lower Vilov. In order to express her gratitude, Claudius ignored her daughter's objection and invited Rodin and his wife to Vilov. Rosie is Rodin's unmarried wife. She has a son with him. He accepted Vilov's invitation this time and hoped Camille could return to Paris as soon as possible. He wants to carve portraits of Hugo and Balzac. How can he show everyone's charm on his face? Inspiration is like a naughty child playing hide-and-seek with him. He can't accomplish these tasks without Camille, only she can bring him endless inspiration.
The love between my sister and Rodin made Paul feel left out and became an unnecessary person. Camille lives in Pei 'an Garden, which Rodin bought recently on the outskirts of Paris. In this temporary home, which is more like a workshop, she works day and night, alienating her family and friends and being almost isolated from the outside world. Inspiration, enthusiasm, skill and body, she dedicated everything to Rodin.
Rodin's masterpiece is about to be completed, but Mr. Claudius is uneasy to find that his daughter has stopped working since she met Rodin and seems to live only for Rodin. But if she doesn't show her work, she will never be recognized. He reminded Camille that her future belongs to her, and she shouldn't show up too much with Rodin. Gossip around her is enough to kill a genius.
Camille found out she was pregnant. She stayed alone in Pei 'an Garden, and the whole day's work left her without a decent dress and a pair of decent shoes. In addition to dealing with friends in the art world, Rodin often stays with sick Rosie. Rosie came to the door and had a big fight. Camille had a miscarriage. Rodin cried for three days. A few days later, Camille suddenly disappeared. In her studio, Rodin was very excited to find a perfectly carved image of himself. He decided to put it on display.
When Camille appeared again, she asked Rodin to choose between her and Rosie. Rodin said he couldn't drive Rosie away like a servant. Camille suddenly realized how pertinent her father's words were. She works for him day and night and seldom thinks about herself. She will never have everything other women have, only stones.
Camille, who had nothing, found Paul and asked her brother to let her stay for a while. Her heart was broken when she finally agreed to leave Rodin.
Camille is still immersed in sculpture after her initial recovery. My brother ran away from home, and my parents are going back to Vilov. The whole family moved to Paris for her and her sculpture, and now the whole world has abandoned her. They are disappointed in each other. The only thing Camille has is sculpture. Only sculpture can distinguish her from Rosie.
With the help of musicians Debussy and others, Camille's works were exhibited. She wants to fly again with a limp. People have different opinions about her works, which are distorted by pain. But all the praise belongs to Rodin, because she is his student and he showed her how to find gold. Life has become a cross. Paul's words are too thorough. He has said to her: "Rodin dreams, you work." She never seems to get out of Rodin's shadow. Camille is more lonely in her own world than before, and she will become a sculpture. But even a sculpture will not be abandoned like this.
Rodin came, but was turned away, and Camille in the door became extremely fragile and vulnerable. The success of Balzac's full-length portrait made Rodin visit again because Camille had inspired him. However, to his surprise, the reunion after such a long separation turned into a hurtful abuse. Camille, mentally unbalanced, is crazy. She suspected that all her misfortunes were due to Rodin's practical jokes. When the landlord offered to take back the house, Camille rushed to Rodin's house in grief and indignation, smashed his doors and windows with stones and growled, "Rodin, get out of your kennel, what do I love you!"
The shrill cry echoed in the darkness.
Paul has been neglected by his father. When he returned to France, he had become an outstanding writer. Camille threw herself into her father's arms and felt ashamed that she had let him down. Mr. Claudius found his daughter's beautiful blue eyes tarnished. He put his arm around poor Camille and read her a poem by Paul.
Judy, a newspaper reporter, interviewed Camille in order to write a biography of Rodin. She told Camille that many people have realized that she is a rare female artist in this era. Even Rodin admitted that he had guided her to look for gold, but later found it was on her. No matter what the reporter said, Camille decided that she was sent by Rodin and refused to be interviewed by her. "My relationship with Rodin is zero."
19 13 In the autumn, shortly after Mr. Claudius' funeral, Camille was signed by a doctor in a mental hospital in Paris, which proved that she suffered from severe schizophrenia. At the moment when he was sent to the hospital prison car, Camille grabbed the window and the iron railing, and his eyes were full of desolation and fear.
In the madhouse, Camille earnestly wrote to his brother Paul again and again, hoping to leave this tortured place as soon as possible: "Don't leave me here, how much I want to go home and live with you, and make sure that my things don't fall into Rodin's hands. He is afraid that I will go out and will do everything possible to stop it. I really want to go home. Your exiled sister. "
194310 June19, Camille claudius died in Montkrone asylum at the age of 80.
Rodin built it for Camille. Kiss. Use Camille as a model.
For Camille, art is the whole of her life and represents her position in this world. Art means desire, love, fate, or simply the tragicomedy of life.
How to objectively and correctly evaluate Camille's life? First of all, we should consider her time and historical background, including the education, economy, culture, politics and other social conditions in France in the19th century. Camille is a female sculptor. In France at that time, sculpture was purely a man's art, and women had almost no right to contact sculpture art, so Camille could not be recognized by the public and was not accepted by the upper class. Even in the activities where other female artists gather, she is unknown because she is not good at socializing and lacks contact and communication with her contemporaries. These are one of the reasons that brought her to the dead of night. Knowing this, it is not surprising why depression and sadness are always potential themes in Camille's works. Beneath the sweet and charming appearance of this talented female artist, there is a lonely inner world full of dirt all day long.
Through the correspondence between Camille and her younger brother and nephew in her later years, we can see that she misses Villenave's childhood very much and wants to return to the young village. It was there that she first experienced the tranquility, purity and serenity of nature. There, silence and nature were her first teachers. Inspired by them, she can find beauty in mud, haystacks and stones and happiness in the mystery of nature. She used her own * * * to penetrate the deep existence, expressing the deepest feelings of herself and the whole human heart. Indeed, for a sculptor like Camille, a peaceful and quiet life helps her capture vivid moments in life.
It is from her memory of childhood, her longing, capture and loss of love that Camille turned her experience into the driving force of creation. She records the disappearance and return of life with sculptures, looking for the meaning of life, love and death. Here, she expressed her monologue about life, turning loneliness into a compliment to the real world.
Secondly, when we treat Camille's sculpture art, we should make it clear that they can and must be separated from Rodin's sculpture and put it on her own platform to think. Camille's works are also a mirror of her brother and poet Paul's rhetoric art. They all noticed the harmony between opposites, internal and external.
Behind the changeable phenomenon, Camille's sculpture can grasp the unchangeable essence, just like a hymn in sculpture art, showing us the traces of life and the changeable world. It comes from Camille's silent dialogue with God and nature. It is the simplicity of the inner world, the purity of the soul, the beauty of love, the joy of being loved and the tenacious resistance to death that make Camille's art maintain the constant connotation in the changeable form, and then achieve eternity.
The ultimate meaning of loyalty, mystery, love and existence is also the theme that Camille tries to express in her works and the material that she constantly seeks in her daily life. Her works are different from others, which are manifested in the harmony of opposites, the interaction between universality and particularity, the blending of exterior and interior, the exchange of eyes and thoughts, the dialectical relationship between time and eternity, and the relationship between subject and object.
When evaluating the busts of Paul 13 and Paul 16 produced by Camille, the art critic Mr. Aslan once said: "Although the sculptures were not completed at the same time and the models were not Paul of the same age, they had the same eyes, the same strength and the same belief. This woman's observation has wonderful penetrating power. "
Indeed, Camille is such a sculptor. She can harmoniously integrate all these different aspects into a beautiful whole, making her works concise, balanced, wise and eternal. The sculpture "Little Mistress of the Castle" is an example. In this sculpture, we see a brand-new world, and people seem to be out of time. Camille conveyed the theme that "life is a miracle" to us through children's eyes. Obviously, Camille's childhood experience in Villenave can help her better understand this miracle. When she walked in those primitive villages and Woods, she experienced the rhythm of natural movement, the smell of the earth, as well as boulders, grasslands and blue sky ... She always admired the wonderful scenery on this huge canvas with awe. Life is so wonderful!
She also tries to understand the silent words of nature and feel the eternal dialogue composed of silence and mystery. Her early creation Elena reflects her understanding of this dialogue: Elena's life seems to have been absorbed by the overwhelming silence of this land. She waited quietly, as if she had seen through the loneliness of life and saw that death was coming to her. That is, from then on, Camille clearly knew that no matter what she would become, silence would always accompany her.
From these early sculptures, we can see that Camille expressed her thoughts and feelings through artistic forms, and made it a remarkable feature of her sculptures. Although Camille's sculpture does not represent her time or class, Camille has crossed the seemingly insurmountable gap between women and art at that time, and Sagondaro is the best example of this leap.
On the whole, Camille's sculptures have a certain connection with Renaissance sculptures, which is not always shown directly, but through a series of19th century French sculptors. For Camille, contact with nature is the basis to guide her creation. She endowed everything with loyalty, tranquility and harmony. Sculpture works are not all kinds of fragments gathered together at random, lacking harmonious beauty. Her works are a natural whole, calm and quiet, which comes from pure and naive ideas rather than chaotic and turbulent ideas. In any of Camille's works, her emotion and wisdom are manifested in her grasp of the form of things and her ingenuity in selecting materials and conceiving. Every step and material in her sculpture can be skillfully integrated with the whole, showing the beauty and harmony of the sculpture.
Camille's works not only retain the real thing, but also absorb and reflect the light of thought. It is this kind of light that makes the form and theme of her works tend to be stable and transparent, with a sense of the times. The beauty and glory of the world shine in Camille's art, and we should appreciate and taste her works with the same love, joy and sincere feelings, as well as the loneliness of putting ourselves in the shoes. For those who appreciate and praise them, these works of art provide a space for quiet thinking and an eternal belief. They are a mirror, reflecting the suffering experience given by life and the silence and miracle of life itself. All this is based on lasting happiness.
At this point, she is completely different from Rodin: Rodin pays attention to the expression of ideas and can be completely divorced from the prototype of real life. His works are famous for their complexity, abstraction, instability and vagueness. On the contrary, Camille's art emphasizes the spontaneous unity and harmonious combination of opposites, and never needs to get some mystery by dissolving reality. In her works, silence and language, time and eternity, body and soul are interlinked. Her works are all born out of isolation and natural feelings. Her sculpture is not to express abstract existence or imagination, but to focus on the writing of specific emotions, which brings us from the ever-changing world into another eternal meditation.
Camille believes that she needs to faithfully reflect the reality in her works through the observation and balance of her eyes and brain, which is definitely not an abstract symbol. She firmly believes that art is life itself, and just as life itself has the mystery of existence, art should adjust its form to express life-the silent language of God. For her, time can save all existence, because it will make everything finally return to their origin: silence. Camille observes real life by observing silence. The feeling of loneliness is so real that she has even forgotten the expressive power of words.
Camille uses her works to communicate with the real world and the world observed by people. She pays attention to the relationship between change and constancy, time and eternity. In the end, Camille's works release an Odyssey-style humanistic spirit: you must escape from yourself to understand yourself.
Imagination, * * *, novelty and unexpected things are part of a good artist's mind. Camille's own idea is this: she responds to the beauty, loyalty and love of nature, and her mind is full of romantic ideas. Her art is the expression of human dreams and will be loved by those who still speak for human emotions with art. Her art is the expression of a woman's romantic soul, her longing for love, beauty and trust, and her pursuit of the dual meaning of art and life. "Camille is a contradiction. Her work is a profound self-reflection and expresses the ups and downs of life in a woman's eyes. "
Therefore, Camille's art is unique to herself. Undeniably, in the days when she studied with Rodin, she was naturally influenced by Rodin's artistic thought and style, and was also guided and taught by Rodin in sculpture techniques. But all this does not affect Camille's own unique artistic style. In the later stage of her creation, her artistic thought has jumped out of the framework given to her by Rodin, and fully exerted her sculpture potential. Even Rodin had to admit this. Therefore, we cannot deny that Camille is Rodin's student. When she started her creative career, Rodin gave timely and valuable help, and Camille also learned a lot of sculpture skills. However, we can't deny that Camille's sculpture has its own unique style and characteristics, which embodies her unique vision and insight as a female sculptor and is the materialized expression of her own life and soul.
There seems to be such a dialectic in the philosophy of art-a "critical point" problem about the sufferings that artists can bear: artists who lack the perception of the hardships and setbacks in life and the "peak experience" of anxiety, struggle and despair will inevitably tend to be shallow and mediocre. However, if the suffering is too great, it will lead to the artist's unbearable lightness or heaviness of life, and it will also undermine the realization of the artist's self-worth and creative motivation. Therefore, to truly and thoroughly understand Camille's sculpture art, we have to re-examine her riddled love and bumpy life. All these have brought inexhaustible inspiration to her artistic creation, but at the same time, they have stifled the thorough embodiment of her artistic talent.
195 1 year, Paul pointed out in an article about his sister: "Their breakup is inevitable. Two evenly matched geniuses with different ideas are doomed to be unable to enjoy the same customer and the same sculpture room. "
Then why can they be together for fifteen years? First of all, as a female artist, Camille needs economic and psychological support, but under the cover of rich creativity, Camille did not find Rodin's emotional vacillation and weakness in time. So she threw herself into Rodin's arms without hesitation. Secondly, for Rodin, whether physically or mentally, whether in art or in life, he needs Camille. In life, Rodin loved Camille. There is no doubt that this kind of love occupies different status and weight in Rodin and Camille's heart. In art, these two people appreciate each other more and inspire each other. Rodin's art needs Camille's body to be perfectly displayed, just as Camille's * * * needs Rodin's thought to be clearly displayed. Besides, Rodin can also give Camille fatherly care and brotherly care, as well as the artist's critical eyes and pertinent opinions. For a long time, Camille had no artist friends except Rodin, who was all she had. When we add all these factors and look at their on-off and on-off in the past fifteen years, we can easily find that fifteen years is not a long time.
Camille has always insisted on her seclusion and hates socializing. She likes to experience the feeling that a person is in contact with nature, eager to uncover the mystery of nature, listen to the undisturbed dialogue of nature, and listen to the unadorned voice of nature from all objects. It is this loneliness that alienated her artistic form from Rodin. Because Rodin's art needs the nourishment of social and political factors as well as the influence of literature and various theories. Rodin often goes in and out of various literary and art circles and political circles, striving for people's recognition and love for his works. Camille's art and life are rooted in a silent existence and belong to a more free and quiet world, which is essentially different from Rodin's.
Rodin and Camille both know that their artistic goals and intentions are inconsistent. Camille is concerned with the way to love and discover beauty, ideas and mystery through naive imagination and rational thinking. Rodin is concerned with solving these problems through pure imagination.
Rodin likes to exaggerate and distort the form of things. Although he claims to follow nature, in fact he still advocates geometric or three-dimensional form. He transformed natural things into his own imagination. His artistic goal is to explain reality, not to fully reflect it. What is shown in his artistic works is the feeling of reality, and what he advocates is imagination and ideas. There is a kind of * * * in his sculptures, that is, the formal connection between his works and human emotions is separated, which makes his sculptures have considerable aesthetic connection with the popular symbolism at that time. But unlike symbolism, Rodin's sculpture can arouse people's emotions and get rid of the connection with the specific things. In a word, Rodin's sculptures tend to be abstract, just as symbolism advocates. He believes that as an artist, you should "imagine", "dream" or simply "close your eyes"; Instead of opening up to nature. What they want to do is to provide the audience with a comprehensive overall form, which can express their emotions and transform them into their own * * *.
For Rodin, the beauty of art lies in the inner true expression. To this end, he often subtly deviated from human anatomy. His sculptures, whether bronze or marble, generally adopt two styles: one is to deliberately create a rough surface and a rough surface shape; Another feature is polished surface and beautiful appearance. Rodin's thoughts and works are extremely consistent, full of melancholy, depression, sadness and struggle against fate. The characters he created are all reflections of the humiliating life in reality. His artistic strength is not an external cry, but an expression of rational meaning, a natural explosion of inner feelings and thoughts. This is the charm that his works can inspire the audience and leave a deep impression on people.
Camille's works are the result of her observation and careful thinking. Rodin's usual artistic means, such as imagination and abstraction, are not applicable here in Camille. Her works are not biased to reflect the thoughts and concepts buried in the artist's heart, but come from her own observation. For her, "reality will never be betrayed by her faithful hands." She pays great attention to the unity of emotion, theme and form, the unity of title and content, the unity of internal and external changes, and the unity of local and overall changes.
In fact, Camille not only gave Rodin the secret of his beautiful works, but also gave him the method of creation. The vitality of Camille's works lies in that she likes to show their true colors, rather than giving them new forms. Now, it's time for Camille to shine. It's time to uncover the contradiction of life and reevaluate the great significance of her original work. Among the great French sculptors in Camille's time, we should re-evaluate her objectively and give her a corresponding position.
19 13 March 10, Paul crowdale clearly knew that his excellent, beautiful, happy and talented sister was suffering from severe schizophrenia day and night. He had to send her to a mental hospital.
When Camille was taken to the madhouse, her spiritual world collapsed. Due to the lack of spiritual, social, material, moral, artistic and psychological support, Camille's * * * became her grave. As in 19 19, Camille's mother said in a letter to the president of the insane asylum, "She sentenced herself to death."
Paul is one of two family members who sent Camille to the madhouse. Afterwards, he kept reflecting: "Did my family and I do all the efforts for my poor sister?" It is said that throughout his life, Paul questioned his original decision, which haunted him until his death.
After his death, Camille was buried in Montfaville Cemetery, where there was a cemetery specially prepared for the dead patients in Montville Hospital. After the war, her nephew wanted to move Camille's bones back to his hometown of Villenave, so that she could have a more decent cemetery to put her soul. However, he found that this wish could not be realized, because the cemetery where Camille was buried had become a public cemetery, which was completely razed to the ground due to the expropriation of * * * *. Miss Claudell is missing. Helpless, he had to put a memorial stone tablet on the graveyard of Claudel family in Villenave village. In this way, all the footprints of Camille Claudell in the world were erased, except her name and her only remaining sculpture.
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Recently, I borrowed Crazy for Love from the library, which tells the story of Rodin's lover and talented sculptor Camille Claudius. Artists are always meticulous and sensitive, keen and crazy. Camille is fascinated by sculpture, full of love and eager to go home. Rodin can't give it to her because Rodin is a waver. He lives among women. Why are women always so passive? Women always fall in love easily, and then only one man can be seen in this world, living for such a person and despairing for love.
Tragedy, sometimes beautiful.