Editing Camille Claudel

{{short description|French sculptor and graphic artist}}
{{About|the artist|the 1988 film|Camille Claudel (film)|the 2013 film|Camille Claudel 1915|the musical|Camille Claudel (musical)}}
{{Use dmy dates|date=December 2022}}
{{Infobox person
| name               = Camille Claudel
| image              = File:Camille Claudel - photographie César.jpg
| caption            = Claudel sometime before 1883
| birth_name         = Camille Rosalie Claudel
| birth_date         = {{birth date|1864|12|8|df=y}}
| birth_place        = [[Fère-en-Tardenois]], [[Aisne]], [[Second French Empire]]
| death_date         = {{death date and age|1943|10|19|1864|12|8|df=y}}
| death_place        = Montdevergues, [[Vaucluse]], [[Vichy France]]
| parents            = 
| relations          = [[Paul Claudel]] (brother), [[Louise Jeanne Claudel]] (sister)
| nationality        = French
| alma_mater         = [[Académie Colarossi]]
| occupation         = Sculptor
| known_for          = Figurative artwork in bronze and marble
| notable_works      = ''[[Sakuntala (Claudel)|Sakuntala]]''<br />''[[The Waltz (Claudel)|The Waltz]]''<br />''[[The Mature Age]]''<br>[[List of sculptures by Camille Claudel|List of sculptures]]
| signature          = File:Signature of Camille Claudel.png
}}

'''Camille Rosalie Claudel''' ({{IPA|fr|kamij klodɛl|-|Fr-Camille Claudel.oga}}; 8 December 1864{{snd}} 19 October 1943) was a French sculptor known for her figurative works in bronze and marble. She died in relative obscurity, but later gained recognition for the originality and quality of her work.<ref name="Reading for Results">{{cite book|last1=Flemming|first1=Laraine E.|title=Reading for Results|date=1 January 2016|publisher=Cengage Learning|isbn=9781305500525|page=721|url=https://books.google.com/books?id=z3hTCwAAQBAJ&pg=PA721}}</ref><ref name="The Natural Superiority of Women">{{cite book|last1=Montagu|first1=Ashley|title=The Natural Superiority of Women|date=1999|publisher=Rowman Altamira|isbn=9780761989820|page=217|url=https://books.google.com/books?id=WiRrwzdafGEC&pg=PA217}}</ref> The subject of several biographies and films, Claudel is well known for her sculptures including ''[[The Waltz (Claudel)|The Waltz]]'' and ''[[The Mature Age]]''.<ref name=":0">{{Cite news|last=McGee|first=Celia|url=https://www.nytimes.com/1989/12/17/arts/film-camille-claudel-passion-reborn.html|title=FILM; Camille Claudel: Passion Reborn|date=1989-12-17|work=The New York Times|access-date=2020-04-17|language=en-US|issn=0362-4331}}</ref>

The national [[Musée Camille Claudel|Camille Claudel Museum]] in [[Nogent-sur-Seine]] opened in 2017. Claudel was a longtime associate of sculptor [[Auguste Rodin]], and the [[Musée Rodin]] in Paris has a room dedicated to her works.

Sculptures created by Claudel are also held in the collections of several major museums including the [[Musée d'Orsay]] in Paris, the [[Courtauld Institute of Art]] in London, the [[National Museum of Women in the Arts]] in Washington, D.C., the [[Philadelphia Museum of Art]],<ref>{{Cite web|url=http://www.artnet.com/artists/camille-claudel/|title=Camille Claudel {{!}} artnet|website=artnet.com|access-date=2020-04-17}}</ref> and the [[J. Paul Getty Museum]] in Los Angeles.<ref>{{Cite web |url=http://www.getty.edu/art/collection/objects/328669/ |title=Torso of a Crouching Woman (Getty Museum) |website=The J. Paul Getty in Los Angeles |language=en|access-date=2020-04-24}}</ref>

== Early years ==
Camille Claudel was born in [[Fère-en-Tardenois]], [[Aisne]],<ref name="Phaidon Editors">{{cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775 |page=101}}</ref> in northern France, the first child of a family of farmers and [[gentry]]. Her father, Louis-Prosper Claudel, dealt in mortgages and bank transactions. Her mother, the former Louise-Athanaïse Cécile Cerveaux, came from a [[Champagne (province)|Champagne]] family of [[Catholic]] farmers and [[priest]]s. The family moved to [[Villeneuve-sur-Fère]] while Camille was still a baby. Her younger brother [[Paul Claudel]] was born there in 1868.<ref name=":2" /> Subsequently, they moved to [[Bar-le-Duc]] (1870), [[Nogent-sur-Seine]] (1876), and [[Wassy-sur-Blaise]] (1879), although they continued to spend summers in Villeneuve-sur-Fère, and the stark landscape of that region made a deep impression on the children.

From the ages of 5 to 12, Claudel was educated by the [[Sisters of Christian Doctrine of Nancy|Sisters of Christian Doctrine]].<ref>{{Cite web|url=https://heavy.com/news/2019/12/camille-claudel/|title=Camille Claudel: 5 Fast Facts You Need to Know|last=Castro|first=Danilo|date=2019-12-08|website=Heavy.com|language=en|access-date=2020-04-17}}</ref> While living in Nogent-sur-Seine at age 12, Claudel began working with the local clay, regularly sculpting the human form.<ref name=":0" /><ref name=":1" />

As Camille grew older, she enriched her artistic education with literature and old engravings.<ref>{{cite book |last1=Odile Ayral-Clause |title=Camille Claudel |date=2002}}</ref>

Her mother Louise did not approve of Claudel's "unladylike desire to become an artist."<ref name=":0" /> Her father was more supportive and took examples of her artwork to their artist neighbor Alfred Boucher, to assess her abilities.<ref name=":1" /> Boucher confirmed that Claudel was a capable, talented artist and encouraged her family to support her study of sculpture.<ref name="The Art Story" /><ref name=":1" /> Camille’s family  provided her with the same education as her brother, leading her to  reach a limitation in facilities in the area.{{sfn|Ayral-Clause|2002|p={{page needed|date=March 2025}}}} Camille moved with her mother, brother, and younger sister to the [[Montparnasse]] area of [[Paris]] in 1881. Her father remained behind, working to support them.<ref name="The Art Story">{{cite web |title=Camille Claudel Biography, Life & Quotes |url=https://www.theartstory.org/artist/claudel-camille/life-and-legacy/ |website=The Art Story |access-date=1 December 2019}}</ref>

== Creative period ==

===Study with Alfred Boucher===

Claudel was fascinated with stone and soil as a child, and as a young woman she studied at the [[Académie Colarossi]], one of the few places open to female students.<ref>{{Cite book|title=Women Artists: Works from the National Museum of Women in the Arts|last=Heller|first=Nancy|publisher=Rizzoli Intntl|year=2000|isbn=0-8478-2290-7|pages=64|quote=...one of the few art academies in France open to female students.}}</ref>{{sfn|Ayral-Clause|2002|p={{page needed|date=March 2025}}}} Once in Paris, she studied with sculptor [[Alfred Boucher]].<ref>{{Cite book|title=50 women artists you should know|last=Christiane.|first=Weidemann|date=2008|publisher=Prestel|others=Larass, Petra., Klier, Melanie, 1970–|isbn=9783791339566|location=Munich|oclc=195744889|url-access=registration|url=https://archive.org/details/50womenartistsyo0000weid}}</ref> The Académie Colarossi was more progressive than other arts institutions in that it not only allowed female students at the school but also permitted them to work from nude male models.<ref name="The Art Story" /> At the time, the {{lang|fr|[[École des Beaux-Arts]]|italic=no}} barred women from enrolling to study.

[[File:Camille Claudel atelier.jpg|thumb|upright|Camille Claudel (left) and sculptor [[Jessie Lipscomb]] in their Paris studio in the mid-1880s]]

In 1882, Claudel rented a studio workshop on rue Notre-Dame des Champs in Paris that she shared with three British sculptors: [[Jessie Lipscomb]], Emily Fawcett and Amy Singer (daughter of [[John Webb Singer]], whose foundry in [[Frome]], [[Somerset]], made large-scale bronze statues.) Boucher often came by the studio giving free lessons to the three sculptors multiple times a week.{{sfn|Ayral-Clause|2002|p={{page needed|date=March 2025}}}} Several prominent Frome works are in London, including the [[Boadicea and Her Daughters|''Boadicea'' group]] on the Embankment, [[Statue of Oliver Cromwell, Westminster|Cromwell]], which graces the lawn in front of the Houses of Parliament, and the figure of [[Lady Justice|Justice]] atop the [[Old Bailey]]. [[Charles George Gordon|General Gordon]] on his camel at [[Royal_School_of_Military_Engineering#Brompton_Barracks|Chatham Barracks]] was also cast in Frome, as were the eight lions that form part of the [[Rhodes Memorial]] in [[Cape Town]]. Claudel visited Frome and the families of her fellow sculptors. All of these English friends had studied at the South Kensington Schools – that would become the [[Royal College of Art]] – before moving to Paris to be at the Academie Colarossi, where they had all met. Claudel prolonged her stay with Singer's family in Frome.<ref>{{cite web |url=http://www.discoverfrome.co.uk/camille-claudel/ |title=Camille Claudel and the Singer's Foundry: A Rodin Connection in Frome |author=Sue Bucklow |date=8 August 2017 |access-date=8 December 2019}}</ref>

Alfred Boucher had become Claudel's mentor, and provided inspiration and encouragement to the next generation of sculptors such as [[Laure Coutan]]. Claudel was depicted by Boucher in ''Camille Claudel lisant'',<ref name="exporevue.com">{{cite web |url=http://www.exporevue.com/magazine/fr/camille_claudel.html |title=Camille Claudel révélée |website=Exporevue.com |access-date=8 December 2019}}</ref> and later she sculpted a bust of her mentor.

After teaching Claudel and the other sculptors for over three years, Boucher moved to Florence following an award for the Grand Prix du Salon. Before he left he asked [[Auguste Rodin]] to take over the instruction of his pupils. Rodin and Claudel met, and their artistic association and the tumultuous and passionate relationship soon began.

===Auguste Rodin===
[[File:La Valse.jpg|thumb|upright|''[[The Waltz (Claudel)|The Waltz]]'', conceived in 1889 and cast in 1905]]

Claudel started working in Rodin's workshop in 1883<ref name="The Art Story" /> and became a source of inspiration for him. Under Rodin’s guidance Claudel was able to perfect her own work in a variety of materials like plaster, bronze, marble, and onyx.<ref name=":2">{{Cite journal |last=Witherell |first=Louise R. |date=Spring–Summer 1985 |title=Camille Claudel Rediscovered |url=https://www.jstor.org/stable/1358057?origin=crossref |journal=Woman's Art Journal |volume=6 |issue=1 |pages=1 |doi=10.2307/1358057}}</ref> She acted as his model, his confidante, and his lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with [[Rose Beuret]].

Knowledge of the affair agitated her family, especially her mother, who already detested her for not being a boy and never approved of Claudel's involvement in the arts.<ref>{{cite book |last1=Runco|first1=Mark A. |last2=Pritzker|first2=Steven R. |title=Encyclopedia of Creativity |date=20 May 2011 |publisher=Academic Press |isbn=9780123750389 |page=763 |url=https://books.google.com/books?id=dI6mI7kg4O0C&pg=PT763 |via=books.google.com}}</ref><ref>{{cite book |last1=Mahon|first1=Elizabeth Kerri |title=Memories of Our Lost Hands: Searching for Feminine Spirituality And Creativity |date=2011 |publisher=Penguin |isbn=9781101478813 |pages=37–38 |url=https://books.google.com/books?id=JgQmOA61vR0C&pg=PT199}}</ref><ref>{{cite book |last1=Schmoll gen. Eisenwerth|first1=J. Adolf |title=Auguste Rodin and Camille Claudel |url=https://archive.org/details/augusterodincami0000schm |url-access=registration |date=1994 |publisher=Prestel |isbn=9783791313825 |page=[https://archive.org/details/augusterodincami0000schm/page/109 109]}}</ref> As a consequence, Claudel was forced to leave the family home.<ref name="The Art Story" />

In 1891, Claudel served as a jurist at the National Society of Fine Arts, reported to be "something of a boys' club at the time."<ref>{{Cite web |url=https://hyperallergic.com/374982/sculptor-camille-claudel-finally-gets-her-own-museum/|title=Sculptor Camille Claudel Finally Gets Her Own Museum|last=Sheerin|first=Mark|date=2017-04-25|website=Hyperallergic|language=en-US|access-date=2020-04-17}}</ref>

In 1892, after an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until 1898.<ref>{{cite book |author=Mahon, Elizabeth K. |title=Scandalous Women: The Lives and Loves of History's Most Notorious Women |location=New York |publisher=Penguin Group |date=2011}}</ref>

Le Cornec and Pollock state that after the sculptors' physical relationship ended, she was not able to get the funding to realise many of her daring ideas – because of sex-based censorship and the sexual element of her work. Claudel thus had either to depend on Rodin or to collaborate with him and see him get the credit as the lionised figure of French sculpture. She also depended on him financially, especially after her loving and wealthy father's death, which allowed her mother and brother, who disapproved of her lifestyle, to maintain control of the family fortune and leave her to wander the streets dressed in beggars' clothing.<ref>{{cite news |last1=Akbar|first1=Arifa |title=How Rodin's tragic lover shaped the history of sculpture |url=https://www.independent.co.uk/arts-entertainment/art/features/how-rodins-tragic-lover-shaped-the-history-of-sculpture-8026836.html |website=The Independent |location=London |date=2012}}</ref>

Claudel's reputation survived not because of her once notorious association with Rodin, but because of her work. The novelist and art critic [[Octave Mirbeau]] described her as "A revolt against nature: a woman genius."<ref>{{Cite web |date=2020-07-02 |title=Camille Claudel, une icône au destin tragique |url=https://www.connaissancedesarts.com/peinture-et-sculpture/camille-claudel-icone-au-destin-tragique-11142437/ |access-date=2020-09-29 |website=Connaissance des Arts |language=fr}}</ref> Her early work is similar to Rodin's in spirit but shows imagination and lyricism quite her own, particularly in the famous ''[[The Waltz (Claudel)|The Waltz]]'' (1893).

The contemporary French critic Louis Vauxcelles stated that Claudel was the only sculptress on whose forehead shone the sign of genius like [[Berthe Morisot]], the only well-known female painter of the century, and that Claudel's style was more virile than many of her male colleagues'. Others, like Morhardt and Caranfa, concurred, saying that their styles had become so different, with Rodin being more soft and delicate and Claudel being vehement with vigorous contrasts, which might have been one reason for their break up, with her becoming ultimately his rival.{{sfn|Elsen|Jamison|2003|p=308}}{{sfn|Vollmer|2007|p=249}}<ref>{{cite book |last1=Rodin|first1=Auguste|last2=Crone|first2=Rainer|last3=Salzmann|first3=Siegfried|title=Rodin: Eros and creativity|date=1997|publisher=Prestel|isbn=9783791318097|page=41}}</ref>

As historian Farah Peterson describes, Claudel's ''Clotho,'' exhibited at the 1893 Salon of the [[Société Nationale des Beaux-Arts]], serves as an "important example of how sharply Claudel’s vision diverged from Rodin’s."<ref name="Peterson">{{cite news |last1=Peterson|first1=Farah |title=Camille Claudel's 'Revolt Against Nature'|url=https://www.theatlantic.com/magazine/archive/2024/01/camille-claudel-sculptor-rodin-chicago-art-institute-exhibit/676148/ |website=The Atlantic |location=New York |date=2023}}</ref>
Claudel depicted [[Clotho]], one of the [[Three Fates]] in Greco-Roman mythology responsible for deciding human destiny, as a very elderly woman. Unlike Rodin and other male artists of the time, Claudel "did not shy away from exploring the female grotesque;" indeed, "she could find power in grotesquerie." In this way, ''Clotho'' can be seen as exemplifying something rare and exhilarating: an "utter indifference to the male gaze."<ref name="Peterson"/>

Claudel's [[onyx]] and bronze small-scale ''La Vague (The Wave)'' (1897) was also a conscious break in style from her Rodin period. It has a decorative quality quite different from the "heroic" feeling of her earlier work.

===''The Mature Age'' and other works===

[[File:Lâge mur (Musée Rodin) (4921654776).jpg|thumb|340px|''[[The Mature Age]]'', 1913 bronze casting in the Claudel room at the [[Musée Rodin]] in Paris. (The figure standing behind, ensnared in her own hair, is ''[[Clotho]]'', 1893)]]
[[File:Vertumnus and Pomona by Camille Claudel.jpg|thumb|upright|Claudel's [[Sakuntala (Claudel)|''Sakuntala'']], marble, 1888, (1905 copy shown, Musée Rodin, Paris)]]
[[File:Cloto.png|thumb|upright|''Clotho'', 1893]]
After Rodin saw Claudel's ''[[The Mature Age]]'' for the first time, in 1899, he reacted with shock and anger. He suddenly and completely stopped his support for Claudel. According to Ayral-Clause, Rodin might have put pressure on the ministry of fine arts to cancel the funding for the bronze commission.

''[[The Mature Age]]'' (1900) is usually interpreted as an allegory of the three stages of life: the man who represents Maturity is drawn into the hands of the old woman who represents Old Age and Death, while the young woman who represents Youth tries to save him.{{sfn|Ayral-Clause|2002|p=146}}<ref>{{cite book |last1=Souter |first1=Janet |title=Camille Claudel |date=2011 |publisher=Parkstone International |isbn=9781781607008 |pages=82–83 |url=https://books.google.com/books?id=qd32AAAAQBAJ&pg=PT82}}</ref> Her brother interpreted it as an allegory of her break with Rodin. Angelo Caranfa comments that "The life that was, is, and will be in ''Maturity'' contains within its movement both the relentless movement of ''Clotho'' and the rhythmic, graceful, whirling movement of ''Fortune'', generating a single and sustaining movement or image out of the differences within" .{{sfn|Caranfa|1999|p=104-105}} According to Caranfa, ''Clotho'' (1893) and ''Fortune'' (1905) represent the two ideas of life: life in ''Clotho'' is portrayed as closed, hopeless existence and "consummated in an unending death"; life in ''Fortune'' is celebrated as the madness of eternal present with ups and downs, its "rapture or total harmony" (''Fortune'' itself is a variation of the dancing woman in ''The Waltz'').<ref>{{cite journal |last1=Gindhart |first1=Maria P. |title=Exhibition review of "Camille Claudel Museum" |journal=Nineteenth-Century Art Worldwide |date=Autumn 2017 |volume=Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) |url=http://www.19thc-artworldwide.org/autumn17/gindhart-reviews-camille-claudel-museum |access-date=5 April 2019}}</ref>{{sfn|Caranfa|1999|p=104-105}}

One of Claudel's figures, ''The Implorer'', was produced as an edition of its own and has been interpreted not as purely autobiographical but as an even more powerful representation of change and purpose in the human condition.<ref>{{cite journal |quote=The different scales, the different modes of plasticity, and gender-representation, of the three figures which make up this important group, enable a more universal thematic and metaphoric stylistics related to the ages of existence, childhood, maturity, and the perspective of the transcendent |author=Angela Ryan |title=Camille Claudel: the Artist as Heroinic Rhetorician |journal=Irish Women's Studies Review |volume=8: Making a Difference: Women and the Creative Arts. |date=December 2002 |page=13–28}}</ref> Modelled for in 1898 and cast in 1905, Claudel didn't actually cast her own bronze for this work, but instead ''The Implorer'' was cast in Paris by Eugene Blot.<ref>{{Cite web |url=http://www.metmuseum.org/art/collection/search/207849 |title=The Implorer (L'Implorante) |website=Met Museum |access-date=2025-01-14}}</ref>

Claudel's masterful study of a young girl, ''La Petite Châtelaine,'' was completed in marble in 1895. Successive versions of ''La Petite Châtelaine'' demonstrate Claudel's talent for carving in marble, a skill Rodin himself did not have.<ref name="Peterson"/> ''La Petite Châtelaine'' stands alone as a portrayal of young girlhood in 19th-century sculpture; "there is no trace here of the pubescent figure with noticeable nipples or of the decorative, soft-cheeked cherub," Peterson observes.<ref name="Peterson"/>

In 1902 Claudel completed a large sculpture of ''[[Perseus and the Gorgon]]''. Beginning in 1903, she exhibited her works at the [[Société des Artistes Français|Salon des Artistes français]] or at the [[Salon d'Automne]].

''[[Sakuntala (Claudel)|Sakuntala]]'', 1888, is described by Angelo Caranfa as expressing Claudel's desire to reach the sacred, the fruit of the lifelong search of her artistic identity, free from Rodin's constraints. Caranfa suggests that Claudel's impressions of Rodin's deceptions and exploitation of her, as someone who could not become obedient as he wanted her to be and who was expected to conform to society's expectation of what women should be, were not false. Thus ''Sakuntala'' could be called a clear expression of her solitary existence and her inner search, her journey within.{{sfn |Caranfa |1999 |pp=27–28}}

In ''The Chatterboxes,'' Claudel depicted subject matter that was exceedingly rare in European sculpture at that time: "platonic female intimacy, not as an excuse to display a breast or a hip for the onlooker, but as women actually experience it."<ref name="Peterson"/> The sculpture shows a group of three women listening to a story told by a fourth companion. Tellingly, in an 1893 letter to her brother Paul, Claudel emphasized that ''The Chatterboxes'' was "no longer anything like Rodin."<ref name="Peterson"/>

Ayral-Clause says that even though Rodin clearly signed some of her works, he was not treating her as different because of her gender; artists at this time generally signed their apprentices' work.{{sfn |Vollmer |2007 |pp=75–76}} Others also criticise Rodin for not giving her the acknowledgment or support she deserved.<ref>{{cite book |last1=Axelrod|first1=Mark|title=Borges' Travel, Hemingway's Garage: Secret Histories|date=2004|publisher=University of Alabama Press|isbn=9781573661140|page=129|url=https://books.google.com/books?id=XHt0J8d6U70C&pg=PA129}}</ref><ref>{{cite book |last1=Maisel|first1=Eric |last2=Gregory|first2=Danny |last3=Hellmuth|first3=Claudine |title=A Writer's Paris |date=5 October 2005 |publisher=Writer's Digest Books |isbn=9781582973593|page=81|url=https://books.google.com/books?id=cJW6FP21gMYC&pg=PA81}}{{Dead link|date=November 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Walker argues that most historians believe Rodin did what he could to help her after their separation, and that her destruction of her own oeuvre was partly responsible for the long-time neglect the art world showed her. Walker also says that what truly defeated Camille, who was already recognised as a leading sculptor by many, were the sheer difficulties of the medium and the market: sculpting was an expensive art, and she did not receive many official commissions because her style was highly unusual for the contemporary conservative tastes.<ref>{{cite book |last1=Walker|first1=John Albert|title=Art and Artists on Screen|date=2010|publisher=John Albert Walker|isbn=9780954570255|page=124|url=https://books.google.com/books?id=JZqvANuu91sC&pg=PA124}}</ref> Despite this, Le Cornec and Pollock believe she changed the history of arts.

Other authors write that it is still unclear how much Rodin influenced Claudel – and vice versa, how much credit has been taken away from her, or how much he was responsible for her woes. Most modern authors agree that she was an outstanding genius who, starting with wealth, beauty, iron will and a brilliant future even before meeting Rodin, was never rewarded and died in loneliness, poverty, and obscurity.<ref name="Reading for Results"/><ref name="The Natural Superiority of Women"/><ref>{{cite book |last1=A. Runco|first1=Mark |last2=R. Pritzker|first2=Steven |title=Encyclopedia of Creativity |date=2011 |publisher=Academic Press |isbn=9780123750389 |url=https://books.google.com/books?id=dI6mI7kg4O0C&pg=PT1027}}</ref><ref>{{cite book |last1=Zohrevandi|first1=Elaheh |last2=Allahyari|first2=Effat |last3=Jayakumar|first3=Kirthi |last4=Tarazona|first4=Katherine Vasquez |last5=Kumar|first5=Aanchal |last6=Reed|first6=Elsie |last7=Mohseni|first7=Fatemeh |last8=Barazandeh|first8=Hadi |last9=Aguas|first9=Lylin |last10=Hewitt|first10=Willow |last11=Brigneti|first11=Paola |title=DeltaWomen January 2012 Issue – Women Against The World |date=14 January 2012 |publisher=Lulu.com|isbn=9781471055973|page=4|url=https://books.google.com/books?id=ggGPAwAAQBAJ&pg=PA4}}{{self-published source|date=June 2020}}</ref>{{self-published inline|date=February 2020}}<ref>{{cite book |last1=Chilvers|first1=Ian |last2=Glaves-Smith|first2=John |title=A Dictionary of Modern and Contemporary Art|date=2009|publisher=Oxford University Press|isbn=9780199239658|page=140|url=https://books.google.com/books?id=mwf6RVGYLjgC&pg=PA140}}</ref> Others like Elsen, Matthews and Flemming suggest it was not Rodin, but her brother Paul who was jealous of her genius, and that he conspired with her mother, who never forgave her for her supposed immorality, to later ruin her and keep her confined to a mental hospital.<ref>{{cite book |last1=Elsen|first1=Albert E. |last2=Haas|first2=Walter A. |title=Rodin's Art : The Rodin Collection of Iris & B. Gerald Cantor Center of Visual Arts at Stanford University: The Rodin Collection of Iris & B. Gerald Cantor Center of Visual Arts at Stanford University |date=13 March 2003 |publisher=Oxford University Press, USA|isbn=9780198030614|page=[https://archive.org/details/rodinsartrodinco00else/page/306 306]|url=https://archive.org/details/rodinsartrodinco00else |url-access=registration |quote=claudel rodin jealousy.}}</ref><ref>{{cite book |title=Paris Tour Guide Top 5: Travel guide and tour as with the best local guide |date=2016 |publisher=WanderStories |isbn=9789949577132 |url=https://books.google.com/books?id=O3xLDAAAQBAJ&pg=PT500}}</ref>{{sfn|Flemming|2016|p=721}}{{Full citation needed|date=December 2019}}<ref>{{cite book |last1=Mathews|first1=Patricia Townley |title=Passionate Discontent: Creativity, Gender, and French Symbolist Art |date=1999|publisher=University of Chicago Press|isbn=9780226510187|pages=83–84|url=https://books.google.com/books?id=zUe_iyI2EfUC&pg=PA83}}</ref> Kavaler-Adler notes that her younger sister Louise, who desired Camille's inheritance and was also jealous of her, was delighted at her sister's downfall.<ref>{{cite book |last1=Kavaler-Adler|first1=Susan|title=The Creative Mystique: From Red Shoes Frenzy to Love and Creativity|date=2013|publisher=Routledge|isbn=9781317795681|url=https://books.google.com/books?id=2VAVAgAAQBAJ&pg=PA77}}</ref>

Less well known than her love affair with Rodin, the nature of her relationship with [[Claude Debussy]] has also been the object of much speculation. Stephen Barr reports that Debussy pursued her: it was unknown whether they ever became lovers.<ref>{{cite book |last1=Barr|first1=Stephen Anthony|last2=West Virginia University|title="Pleasure is the Law": Pelleas Et Melisande as Debussy's Decisive Shift Away from Wagnerism – DMA Research Project|date=2007|isbn=9780549439837|page=106|url=https://books.google.com/books?id=h8jPYbGfFD0C&pg=PA106}}{{Dead link|date=November 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> They both admired [[Edgar Degas|Degas]] and [[Hokusai]], and shared an interest in childhood and death themes.<ref>{{cite book |last1=Lockspeiser|first1=Edward|title=Debussy: Volume 1, 1862–1902: His Life and Mind|date=1978|publisher=CUP Archive|isbn=9780521293419|page=183|url=https://books.google.com/books?id=CY85AAAAIAAJ&pg=PA183}}</ref> When Claudel ended the relationship, Debussy wrote: "I weep for the disappearance of the Dream of this Dream." Debussy admired her as a great artist and kept a copy of ''[[The Waltz (Claudel)|The Waltz]]'' in his studio until his death. By thirty, Claudel's romantic life had ended.<ref>{{cite book |last1=Seroff|first1=Victor I.|title=Debussy; musician of France|date=1970|publisher=Books for Libraries Press|isbn=9780836980325|page=152}}</ref><ref>{{cite book |last1=Schierse Leonard|first1=Linda|title=Meeting the Madwoman: An Inner Challenge for Feminine Spirit|date=1994|publisher=Bantam Books|isbn=9780553373189|page=124}}</ref>

<gallery mode="packed" widths="200px" heights="200px">
File:L62 - Musée Rodin - Camile Claudel - La Vague.JPG|''La Vague'' ("The Wave") (1897), exhibited in the Claudel room of the [[Musée Rodin]]
File:61 Cabeza de Camille Claudel con gorro frigio.jpg|''[[Head of Camille Claudel]]'', 1884, by [[Auguste Rodin]], portrays Claudel wearing a [[Phrygian cap]], on exhibit at the [[Museo Soumaya]]
File:Auguste Rodin par Camille Claudel (musée Rodin) (8026456955).jpg|Claudel's ''[[Bust of Auguste Rodin (Claudel)|Bust of Rodin]]'' (1888-89), in the Musée Rodin
</gallery>

== Alleged mental illness and confinement ==

[[File:Augustins - Paul Claudel à seize ans - Camille Claudel RA 941.jpg|thumb|left|upright|''Paul Claudel aged sixteen'' by Camille Claudel, modeled in 1884 and cast in 1893, [[Musée des Augustins]], Toulouse]]

After 1905, Claudel appeared to be [[Mental disorder|mentally ill]]. She destroyed many of her statues, disappeared for long periods of time, exhibited signs of [[paranoia]] and was diagnosed as having [[schizophrenia]].<ref name="Jornal_Brasileiro">{{cite journal |last1=Bastos |first1=Othon |title=Camille Claudel: a revulsion of nature. The art of madness or the madness of art? |journal=Jornal Brasileiro de Psiquiatria |date=2006 |volume=55 |issue=3 |pages=250–253 |doi=10.1590/S0047-20852006000300012 |doi-access=free }}</ref> She accused Rodin of stealing her ideas and of leading a conspiracy to kill her.<ref name="Butler_282">{{cite book |author=Butler, Ruth |date=1996 |url=https://archive.org/details/rodin00ruth/page/282 |title=Rodin: The Shape of Genius |publisher=Yale University Press |page=82 |ISBN=0300064985}}</ref> After the wedding of her brother in 1906 and his return to China, she lived secluded in her workshop.<ref name="Jornal_Brasileiro"/><ref name="Butler_282"/> Claudel's father approved of her career choice, and he tried to help and support her financially. But when he died on 2 March 1913, Claudel was not informed of his death. Instead, eight days later, on 10 March 1913, at the request of her younger brother Paul, she was admitted to the [[psychiatric hospital]] of Ville-Évrard in [[Neuilly-sur-Marne]].

The form read that she had been "voluntarily" committed, although her admission was signed only by a doctor and her brother. There are records to show that, while she did have mental outbursts,{{clarify|date=March 2017}} she was clear-headed while working on her art. Doctors tried to convince Paul and their mother that Claudel did not need to be in the institution, but they still kept her there.<ref name="Scandalous Women">{{cite book |last=Kerri Mahon|first=Elizabeth |title=Scandalous Women: The Lives and Loves of History's Most Notorious Women |year=2011 |publisher=Penguin Group |location=New York |isbn=9780399536458 |page=279}}<!--|access-date=3 March 2014--></ref> According to Cécile Bertran, a curator from the [[Musée Camille Claudel]], the situation was not easy to judge, because modern experts who have looked at her records say she was indeed ill.<ref name=":1">{{cite news |last1=Kennedy |first1=Maev |title=Museum rescues sculptor Camille Claudel from decades of obscurity |url=https://www.theguardian.com/artanddesign/2017/mar/25/museum-rescues-sculptor-camille-claudel-from-decades-of-obscurity |access-date=3 April 2019 |work=The Guardian |date=25 March 2017}}</ref>

In 1914, to be safe from advancing German troops, the patients at Ville-Évrard were at first relocated to [[Enghien]]. On 7 September 1914, Claudel was transferred with a number of other women, to the Montdevergues Asylum, at [[Montfavet]], six kilometres from [[Avignon]]. Her certificate of admittance to Montdevergues was signed on 22 September 1914; it reported that she suffered "from a systematic persecution delirium mostly based upon false interpretations and imagination".{{sfn |Ayral-Clause |2002 |p=210}}

[[File:Paul Claudel 01.jpg|thumb|upright|[[Paul Claudel]] in 1927]]

For a while, the press accused her family of committing a sculptor of genius. Her mother forbade her to receive mail from anyone other than her brother. The hospital staff regularly proposed to her family that Claudel be released, but her mother adamantly refused each time.<ref name="Scandalous Women" /> On 1 June 1920, physician Dr. Brunet sent a letter advising her mother to try to reintegrate her daughter into the family environment. Nothing came of this. Paul Claudel visited his confined older sister seven times in 30 years, in 1913, 1920, 1925, 1927, 1933, 1936, and 1943. He always referred to her in the past tense. Their sister Louise visited her just one time in 1929. Her mother, who died in June 1929, never visited Claudel.{{sfn |Ayral-Clause |2002 |pp=217, 222, 225, 242, 245, 250, 235}}

In 1929, sculptor and Claudel's former friend [[Jessie Lipscomb]] visited her, and afterwards insisted "it was not true" that Claudel was insane. Rodin's friend, Mathias Morhardt, insisted that Paul was a "simpleton" who had "shut away" his sister of genius.<ref>{{cite book |last=Boucher Tehan|first=Arline|title=The Gates of Hell: Rodin's Passion in Stone|year=2010|isbn=9781453548288|chapter=3|publisher=Xlibris Corporation LLC |quote=Rodin's old friend and Camille's supporter, Matias Morhardt, was aghast at her plight and declared: "Paul Claudel is a simpleton. When one has a sister who is a genius, one doesn't abandon her. But he always thought he was the one who had genius."}}<!--|access-date=2 March 2014--></ref>

Camille Claudel died on 19 October 1943, after having lived 30 years in the asylum at [[Montfavet]] (known then as the Asile de Montdevergues, now the modern psychiatric hospital Centre hospitalier de Montfavet). Her brother Paul had been informed of his sister's terminal illness in September and, with some difficulty, had crossed Occupied France to see her, although he was not present at her death or funeral.{{sfn |Ayral-Clause |2002 |p=251}} Her sister did not make the journey to Montfavet.

Claudel was interred in the cemetery of Montfavet, and eventually her remains were buried in a communal grave at the asylum.<ref name="Scandalous Women" />{{sfn |Ayral-Clause |2002 |p=210}}
From the 2002 book, ''Camille Claudel, A Life'': "Ten years after her death, Camille's bones had been transferred to a communal grave, where they were mixed with the bones of the most destitute. Joined forever to the ground she tried to escape for so long, Camille never, ever, returned to her beloved Villeneuve. Paul's neglect regarding his sister's grave is hard to forgive...while Paul decided not to be burdened with his sister's grave, he took great pains, on the contrary, in choosing his own final resting place, naming the exact location – in Brangues, under a tree, next to his grandchild – and citing the precise words to be written on the stone. Today his admirers pay homage to his memory at his noble grave; but of Camille there is not a trace. In Villeneuve, a simple plaque reminds the curious visitor that Camille Claudel once lived there, but her remains are still in exile, somewhere, just a few steps away from the place where she was sequestered for thirty years."{{sfn |Ayral-Clause |2002 |p=253}}

== Legacy ==

=== Musée Camille Claudel ===
{{Main|Musée Camille Claudel}}
[[File:Le Musée Camille Claudel (Nogent-sur-Seine) (43980921631).jpg|thumb|The [[Musée Camille Claudel]]]]

The Musée Camille Claudel was opened in March, 2017, as a French national museum dedicated to Claudel's work. It is located in her teenage home town of [[Nogent-sur-Seine]].<ref>{{cite web |url=http://www.museecamilleclaudel.fr|title=Musée Camille Claudel |website=museecamilleclaudel.fr |access-date=2025-01-14}}</ref> The Musée Camille Claudel displays approximately half of Claudel's 90 surviving works.<ref>{{cite news |last=Alberge |first=Dalya |date=2017-02-25 |title=Overshadowed by Rodin, but his lover wins acclaim at last |url=https://www.theguardian.com/artanddesign/2017/feb/26/camille-claudel-rodins-lover-acclaim-sculptor | work=The Guardian |location=London |access-date=2 March 2017 }}</ref><ref>{{cite news |last1=C.|first1=Maïlys |title=Musée Camille Claudel : ouverture en mars 2017 à Nogent-sur-Seine|url=https://www.sortiraparis.com/arts-culture/exposition/articles/131250-musee-camille-claudel-ouverture-en-mars-2017-a-nogent-sur-seine|access-date=23 January 2017|agency=Sortira Paris|date=29 December 2016}}</ref>

Plans to turn the Claudel family home at [[Nogent-sur-Seine]] into a museum were announced in 2003, and the museum negotiated with the Claudel family to buy Camille's works. These include 70 pieces, including a bust of Rodin.<ref>{{cite news |last=Webster |first=Paul |date=2003-03-23 |title=Fame at last for Rodin's lost muse |url=https://www.theguardian.com/world/2003/mar/23/arts.artsnews | work=The Guardian |location=London |access-date=3 March 2017 }}</ref>

=== Surviving works ===

[[File:Camille Claudel.- Persée et la Gorgonne..jpg|thumb|upright|Claudel's ''[[Perseus and the Gorgon]]'' (1905)]]

Though she destroyed much of her work, about 90 statues, sketches and drawings survive. She was at first censored as she portrayed sexuality in her work. Her response was a symbolic, intellectual style as opposed to the "expressive" approach normally attributed to women artists.<ref>{{cite book |author=Claudine Mitchell |title=Art History: Intellectuality and Sexuality: Camille Claudel, The Fin de Siecle Sculptress |volume=12#4 |date=1989 |page= 419–447}}</ref> In 1951, Paul Claudel organised an exhibition at the [[Musée Rodin]], which continues to display her sculptures. A large exhibition of her works was organised in 1984. In 2005 a large art display featuring the works of Rodin and Claudel was exhibited in [[Quebec City]] (Canada), and [[Detroit|Detroit, Michigan]], in the US. In 2008, the [[Musée Rodin]] organised a retrospective exhibition including more than 80 of her works.{{cn|date=January 2022}}

In 2005, Sotheby's sold a second edition ''La Valse'' (1905, Blot, number 21) for $932,500.<ref>{{cite web |title=Camille Claudel – La Valse |url=https://www.sothebys.com/en/auctions/ecatalogue/2009/impressionist-modern-art-day-sale-n08588/lot.211.html?locale=en |website=www.sothebys.com |access-date=8 December 2019 }}</ref> In a 2009 Paris auction, Claudel's ''Le Dieu Envolé'' (1894/1998, foundry Valsuani, signed and numbered 6/8) had a high estimate of $180,000,<ref>{{cite web |title=Camille Claudel – Le Dieu Envolé |url=https://www.sothebys.com/en/auctions/ecatalogue/2009/impressionist-modern-art-pf9020/lot.27.html |website=www.sothebys.com |access-date=8 December 2019 }}</ref> while a comparable Rodin sculpture, ''L'éternelle Idole'' (1889/1930, Rudier, signed) had a high estimate of $75,000.<ref>{{cite web |title= Auguste Rodin – L'éternelle Idole |url=https://www.sothebys.com/en/auctions/ecatalogue/2015/impressionist-modern-art-day-sale-n09341/lot.199.html?locale=en |website=www.sothebys.com |access-date=8 December 2019 }}</ref>

In 2023, The Art Institute of Chicago and the J. Paul Getty Museum co-organized a major retrospective of her work, featuring 60 sculptures from more than 30 institutional and private lenders. The show gathered many of her key compositions in terracotta, plaster, bronze, and stone.<ref>{{Cite web|url=https://www.artic.edu/exhibitions/9714/camille-claudel|title=Camille Claudel|website=The Art Institute of Chicago|date=7 October 2023 }}</ref>

== Commemorations ==

=== In theatre and musicals ===

Some authors argue that [[Henrik Ibsen]] based his last play, 1899's ''[[When We Dead Awaken]]'', on Rodin's relationship with Claudel.<ref>{{cite book |title=Auguste Rodin and Camille Claudel |url=https://archive.org/details/augusterodincami0000schm |url-access=registration |last=Schmoll gen. Eisenwerth |first=J. Adolf |year=1994 |publisher=Prestel |isbn=978-3-7913-1382-5}}</ref><ref>{{cite book |title=Contradictory characters: an interpretation of the modern theatre |last=Bremel |first=Albert |year=1996 |publisher=Northwestern University Press |isbn=978-0-8101-1441-8 |pages=282–283 }}</ref><ref>{{cite book |title=With vine-leaves in his hair: the role of the artist in Ibsen's plays |last=Binding |first=Paul |year=2006 |publisher=Norvik Press |isbn=978-1-870041-67-6 }}</ref><ref>{{cite book |title=Ibsen's women |last=Templeton|first=Joan |year=2001|publisher=Cambridge University Press |isbn=978-0-521-00136-6 |page=369 }}</ref>

The Seattle playwright S.P. Miskowski's ''La Valse'' (2000) is a well-researched look at Claudel's life.<ref>{{Cite web|url=http://www.thestranger.com/seattle/the-expanding-universe/Content?oid=3290|title=The Expanding Universe|last=Wiecking|first=Steve|website=The Stranger|access-date=2017-08-01}}</ref><ref>{{Cite web|url=https://archive.seattletimes.com/archive/20000210/4004326/solid-acting-helps-keep-la-valse-in-step|title=Entertainment & the Arts {{!}} Solid acting helps keep 'La Valse' in step|last=Berson |first=Misha|date=2000-02-10 |website=community.seattletimes.nwsource.com |access-date=2017-08-01}}</ref>

In 2012, the world premiere of the play ''Camille Claudel'' took place. Written, performed and directed by Gaël Le Cornec, premiered at the Pleasance Courtyard [[Edinburgh Festival Fringe|Edinburgh Festival]], the play looks at the relationship of master and muse from the perspective of Camille at different stages in her life.<ref>{{cite web |author=Akbar, Arifa |url=https://www.independent.co.uk/arts-entertainment/art/features/how-rodins-tragic-lover-shaped-the-history-of-sculpture-8026836.html |title=Interview with Gael Le Cornec and Dr Pollock |work=[[The Independent]], London |date=11 August 2012 |access-date=23 December 2013}}</ref>

The composer Frank Wildhorn and lyricist Nan Knighton's musical ''[[Camille Claudel (musical)|Camille Claudel]]'' was produced by Goodspeed Musicals at The Norma Terris Theatre in Chester, Connecticut in 2003.<ref>{{cite web |url=http://www.playbill.com/news/article/81510.html |title=Wildhorn and Knighton's Camille Claudel, the Musical, Ends 7 September at Goodspeed |publisher=Playbill.com |date=7 September 2003 |access-date=18 June 2012 |url-status=dead |archive-url=https://web.archive.org/web/20090114035417/http://www.playbill.com/news/article/81510.html |archive-date=14 January 2009 }}</ref>

=== In film ===

The 1988 film ''[[Camille Claudel (film)|Camille Claudel]]'' was a dramatisation of her life based largely on historical records. Directed by [[Bruno Nuytten]], co-produced by [[Isabelle Adjani]], starring Adjani as Claudel and [[Gérard Depardieu]] as Rodin, the film was nominated for two [[Academy Awards]] in 1989. Another film, ''[[Camille Claudel 1915]]'', directed by [[Bruno Dumont]] and starring [[Juliette Binoche]] as Claudel, premiered at the [[63rd Berlin International Film Festival]] in 2013. The 2017 film ''[[Rodin (film)|Rodin]]'' co-stars [[Izïa Higelin]] as Claudel.<ref>{{cite web |url=https://www.metacritic.com/movie/rodin |title=Rodin:Metacritic review |website=www.metacritic.com |access-date=2025-01-14}}</ref>

=== In music ===

The composer [[Jeremy Beck]]'s ''Death of a Little Girl with Doves'' (1998), an operatic soliloquy for soprano and orchestra, is based on the life and letters of Camille Claudel. This composition has been recorded by Rayanne Dupuis, soprano, with the Slovak Radio Symphony Orchestra.<ref>{{cite web |url=http://www.innova.mu/albums/jeremy-beck/wave |title=Innova Recordings: Jeremy Beck – Wave |website=www.innova.mu |access-date=3 October 2012}}</ref> Beck's composition has been described as "a deeply attractive and touching piece of writing ... [demonstrating] imperious melodic confidence, fluent emotional command and yielding tenderness."<ref>{{cite web |url=http://www.musicweb-international.com/classrev/2004/Dec04/beck.htm |title=Jeremy Beck – Wave |publisher=MusicWeb International.com |date=December 2004 |access-date=3 October 2012}}</ref>

=== In dance ===
In 2011, the world premiere of [[Boris Eifman]]'s new ballet ''Rodin'' took place in St Petersburg, Russia. The ballet is dedicated to the life and creative work of sculptor [[Auguste Rodin]] and his apprentice, lover and muse, Camille Claudel.<ref>{{Cite web |url=http://www.eifmanballet.ru/en/repertoire/rodin|title=Rodin|website=eifmanballet.ru|access-date=2016-04-02}}</ref>

In 2014, the Columbus Dance Theatre and the [[Carpe Diem String Quartet]] performed the premiere of ''Claudel'' in [[Columbus, Ohio]], with music by Korine Fujiwara, original poetry by Kathleen Kirk, and choreography by Tim Veach.<ref>{{Cite web |url=https://www.dispatch.com/article/20140125/ENTERTAINMENT/301259934|title=Review: Columbus Dance Theatre's Claudel vividly recreates sculptor's 'dream'|website=dispatch.com|access-date=2019-12-08}}</ref>

In 2021, Australian choreographer [[Meryl Tankard]] choreographed ''Claudel'' for the [[Sydney Opera House]],<ref>{{cite web |title=Meryl Tankard AO, b. 1955 |website=[[National Portrait Gallery (Australia)]] |date=2021 |url=https://www.portrait.gov.au/people/meryl-tankard-1955 |access-date=18 November 2024| archive-date= 14 April 2024| archive-url= https://web.archive.org/web/20240414234636/https://www.portrait.gov.au/people/meryl-tankard-1955| url-status=live}}</ref> presented by Tinderbox Productions. The ballet was written and directed by playwright Wendy Beckett, and is based on the life of Claudel and her relationship with Rodin.<ref>{{cite web |title=Tinderbox Productions |website=Tinderbox Productions |date=23 April 2021 |url=https://www.tinderboxproductions.com.au/Claudel.html |access-date=18 November 2024}}</ref><ref>{{cite web |last=Bolles |first=Scott |title=Sydney playwright-director Wendy Beckett opens restaurant in Glebe |website=[[The Sydney Morning Herald]] |date=22 March 2021 |url=https://www.smh.com.au/goodfood/eating-out/sydney-playwrightdirector-wendy-beckett-opens-restaurant-in-glebe-20210319-h1up26.html |access-date=18 November 2024}}</ref>

=== In literature ===

In 1982, the publication of the fictionalized biography ''Une femme'', by author Anne Delbée, sparked a resurgence of interest in her work.<ref>{{Cite journal |last=Pellerin |first=G. |date=1985 |title=Anne Delbée : de la scène à l'écriture Anne Delbée, Une femme, Paris, Presses de la Renaissance, 1982, 497 p. |url=https://www.erudit.org/fr/revues/nb/1985-n18-nb1082825/20305ac/ |journal=Nuit Blanche, le Magazine du Livre |issue=18 |pages=56–59 |via=Érudit}}</ref>

A 2015 novel by [[Carol Bruneau]], ''These Good Hands'', imagines the end of Claudel's life in 1943, through the relationship with her caregiving nurse.{{cn|date=January 2022}}

==See also==
* [[List of sculptures by Camille Claudel]]
* [[Camille Claudel (film)|''Camille Claudel'']], 1988 biographical fictional film with [[Isabelle Adjani]] (Camille) and [[Gérard Depardieu]] (Rodin), France, nominated for two Academy Awards
* ''[[Camille Claudel (musical)|Camille Claudel]]'', 2003 musical
* ''[[Camille Claudel 1915]]'', 2013 French biopic written and directed by [[Bruno Dumont]], starring [[Juliette Binoche]] as Camille Claudel.
* ''[[Rodin (film)|Rodin]]'', 2017 film, with [[Izïa Higelin]] portraying Claudel.

==References==
{{Reflist}}

==Bibliography==
*{{cite book |last=Ayral-Clause |first=Odile |title=Camille Claudel : a life |publisher=Harry N. Abrams, Publishers |location=New York |year=2002 |isbn=9780810940772 |oclc=47756244 }}
*{{cite book |last=Caranfa |first=Angelo |title=Camille Claudel : a sculpture of interior solitude |publisher=Bucknell University Press Associated University Presses |location=Lewisburg London |year=1999 |isbn=9780838753910 |oclc=39380244 }}
* {{cite book |last1=Elsen |first1=Albert E. |last2=Jamison |first2=Rosalyn Frankel |title=Rodin's Art: The Rodin Collection of Iris & B. Gerald Cantor Center of Visual Arts at Stanford University |date=13 March 2003 |publisher=Oxford University Press |isbn=978-0-19-803061-4 |url=https://books.google.com/books?id=30gpesJe3gwC |language=en}}
*Lenormand-Romain, Antoinette et al. ''Camille Claudel and Rodin: Fateful Encounter''. New York: Gingko Press, 2005.
* Mitchell, Claudine. "Intellectuality and Sexuality: Camille Claudel, The Fin de Siecle Sculptress," ''Art History'' 12#4 (1989): 419–447.
*Rivière, Anne & Bruno Gaudichon. ''Camille Claudel: Catalogue raisonné''. Paris: Adam Biro, 2001.
*{{cite book |last=Vollmer |first=Ulrike |title=Seeing film and reading feminist theology : a dialogue |publisher=Palgrave Macmillan |location=New York |year=2007 |isbn=9782864324065 |url=https://books.google.com/books?id=MeyGDAAAQBAJ&pg=PA76|oclc=247474486}}

==Further reading==
*{{Cite book|last=Miller|first=Joan Vita|title=Rodin: the B. Gerald Cantor Collection|url=https://archive.org/details/rodinbgeraldcant0000mill|year=1986|publisher=Metropolitan Museum of Art|location=New York|isbn=978-0-87099-443-2|url-access=registration}} (which contains material on Claudel)
*{{cite book |last1=Van Vliet |first1=Marie-Josephe |title=Camille Claudel : a sociocultural study |date=2000 |publisher=Syracuse University |location=Syracuse, NY |edition=Thesis/Dissertation}}
* Wilson, Susannah. "Gender, Genius, and the Artist's Double Bind: The Letters of Camille Claudel, 1880–1910." ''Modern Language Review'' 112.2 (2017): 362–380. [https://www.jstor.org/stable/10.5699/modelangrevi.112.2.0362 online]
*{{cite book |author=[[Michèle Desbordes]]|title=La Robe Bleue |publisher=Verdier |year=2007}}

== External links ==
{{Wikiquote}}
{{Commons category|Camille Claudel}}
*{{cite web |title=Musée Camille Claudel |url=http://www.museecamilleclaudel.fr/en/ |website=www.museecamilleclaudel.fr |date= }}
* [https://archive.today/20081215022950/http://www.aworldtowin.net/reviews/CamilleClaudel.htm Review of 2008 Claudel exhibition at Musee Rodin, Paris]
* [https://web.archive.org/web/20160303194616/http://www.dia.org/exhibitions/claudel_rodin/preview.asp ''Camille Claudel and Rodin: Fateful Encounter'' at Detroit Institute of Arts 2005]
* [http://www.rodin-web.org/claudel/default.htm Claudel pages, including biography and timeline, at rodin-web.org]
* [http://www.artcyclopedia.com/artists/claudel_camille.html Camille Claudel at artcyclopedia.com]
*[https://web.archive.org/web/20090527013535/http://www.geocities.com/lycium7/camilleclaudel.html Camille Claudel, Of Dreams and Nightmares]
* [http://smarthistory.khanacademy.org/claudels-the-age-of-maturity1.html Claudel's ''The Age of Maturity''] {{Webarchive|url=https://web.archive.org/web/20141112235110/http://smarthistory.khanacademy.org/claudels-the-age-of-maturity1.html |date=12 November 2014 }}, Ben Pollitt at [[Smarthistory]]
* {{in lang|ca}} "[http://arxiudigital.ateneubcn.org/items/show/689 La dona artista i el poder : homenatge a Camille Claudel]" (audio, 1 h 50 mins). ''l'Arxiu de la Paraula''. Ateneu Barcelonès, 2014.
* {{FrenchSculptureCensus}}

{{Camille Claudel|state=expanded}}
{{Auguste Rodin|state=collapsed}}
{{Paul Claudel}}
{{Authority control (arts)}}

{{DEFAULTSORT:Claudel, Camille}}
[[Category:Camille Claudel| ]]
[[Category:1864 births]]
[[Category:1943 deaths]]
[[Category:19th-century French sculptors]]
[[Category:19th-century French women artists]]
[[Category:20th-century French sculptors]]
[[Category:20th-century French women artists]]
[[Category:Académie Colarossi alumni]]
[[Category:Auguste Rodin]]
[[Category:French women sculptors]]
[[Category:Muses (persons)]]
[[Category:People from Aisne]]
[[Category:People with schizophrenia]]
[[Category:French Roman Catholics]]
[[Category:Paul Claudel]]