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IN SEARCH OF CAMILLE BIOGRAPHY & AUTOBIOGRAPHY OF
CAMILLE CLAUDEL (1864‐1943) IN TEXTS, SCULPTURES,
PHOTOGRAPHS AND FILMS
Jane HERVÉ *
“I demand my freedom with all the power of my voice,” protested the sculptress Camille Claudel
confined in an asylum. Was this desperate cry, made in the first half of the 20th century by this artist
of genius ‐‐ a woman, moreover‐‐ heard at all? Could a biographical and autobiographical reading
comfort her hard imprisonment?
1. Characters and limits of biography
Biography, a special form of literature, relates the life of a being which is at some points
exceptional. The biographer takes another being for his or her “object." Two singularities are here
face to face. This confrontation, aroused by the passion of the one towards the qualities of the other,
changes the observer into a detective, and the one being observed into a territory for exploration
and discovery. The human labyrinth becomes inextricable when it combines – as in the case of
Camille Claudel ‐‐ the aesthetic with the psychological and social being.
What is the limit of this approach when the living subjectivity of the artist reigns more than
elsewhere? The biographer in his or her quest progresses from one work to another of the artist,
classifies the observations/realizations of other artists, of art critics and biographers, and finally
consults photographs. Some sources has the appearance of non‐writings but could contribute to the
understanding.
This search by proxy, rooted in history, environment and century of the observer, doesn’t escape
the realm of feeling. Is it possible not to be engaged or full of solicitude? It is impossible to unravel a
creative thought without a minimum of identification with the model. In consequence, one can easily
pollute the investigation with a sentiment (admiration, animosity, etc…), denature it or go towards
hagiography. From her side, the artist can be acted on or betrayed: she put forward only a part of
herself or a partial/mistaken version (sometimes intentionally) or indeed she may choose silence.
2. The case of Camille Claudel
To perceive the artist and her freedom, we will go back and forth among the various media
available (photos, writings, films, theater pieces, dedicated sculptures), which intersect the
autobiographical work of the sculptor (sculptures and writings). In this search, we looked for
significant nodes which are also the fragile stages of a life.
2.1. The photos.
Our first look goes right into the photos, strong witness of a living presence. Camille C. has a sad
and thoughtful gravity. No matter her age, whether in adolescence or old age, she is fixed in the
authenticity of herself, without complacency or smiles, without trying to be seductive. She is the
more captivating because of her refusal to please is offset by her beauty and submerged pride.
2.1.1 Photos taken by professionals show she makes no concessions.
Photo with caption " Maman et Camille Claudel "(1880). C.C. is an adolescent wearing an
impressive protective smock. She stands with assurance, one hand resting on her mother’s shoulder,
holding palette and knives, while the mother exhibits palette and brush.
*
Writer - Paris, France.