camille
claudel - biography (6)
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1898
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In March Mathias Morhardt writes an monographic article about Camille for the
Mercure de France.
Camille definitively terminates the relation with Rodin and turns away from him and his supporters. Therefore she
does not allow Judith Cladel to publish an article about her work.
She moves to her studio in 63 Rue de Turenne.
S.N.B.A.: 'L'Hamadryade', already before the exhibition is inaugurated bought by the collector Maurice Fenaille;
'Profonde Pensée', bronze, 'Bust of M.
X...'.
Rodin exhibits his Balzac at the same exhibition.
Completion of the second version of 'L'Age mûr'; after some efforts, she finally receives the rest of her fee
for the design. Although a bronze version is ordered as well, the
necessary funds are suddenly blocked: it is probable that Rodin intervened
to Camille's disadvantage, because he didn’t like her group
composition that clearly hints to the tragical triangle relationship
between Rose Beuret, Camille and himself.
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1899
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 In January, Camille settles down in
19 quai Bourbon.
S.N.B.A.: 'Portrait of M. le comte de M...' (Maigret), marble, 'Clotho', marble, 'L'Age
mûr', plaster, 'Persée et La Gorgone',
life-size plaster. With these works the change from her unpolished and naturalistic expression to a more smooth and conventional manner is emerging.
She meets captain Tissier who purchases the figure 'L’Implorante', which is isolated from the group
'L’Age mur'. This female nude is cast by Gruet.
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1900
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From January to September Paul Claudel stays in France. In October, he
returns to Foutchéou.
While Rodin, at the height of his fame, inaugurates his own pavillion at the
World Exhibition, Camille Claudel there shows the following three works:
'Profonde Pensée', marble, 'Rêve au coin du feu', plaster and 'Ophélie', formerly known as
'L'Hamadryade'. In a letter to her sponsor Maurice Fenaille, she regrets
her professional success after 15 years of intensive work is still on the same
level as at the beginning of her artistic career.
Exhibtion au Salon de La Plume with the 'Bust of Rodin'.
In this year, she does not participate at the S.N.B.A.
She works on: 'La Fortune', 'Jeune femme au divan', huile sur toile, portrait
d’une amie anglaise.
Camille meets the gallery owner Eugène Blot, who will become her
representative and supporter. He organises her exhibitions and tries to
obtain state commissions for her.
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1901
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Camille Claudel doesn't participate at any Salon.
Louis Tissier decides to have 'L’Age mur' cast in bronze.
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1902
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 S.N.B.A.:
'Persée', marble in life-size, 'Bust of Madame la comtesse de Maigret', marble, and
'Alsacienne', terra-cotta patinated with silver. This is her last exhibition at this Salon.
Casting of 'L'Age mûr' by Thiébaut Frères for captain Tissier. Realized in three pieces which can be mounted together, it is a transportable sculpture,
adjusted to the conditions of a professional traveler.
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