sempozyum_bildiri_kitabi

From this spontaneous self‐portrait emerges a complex person fascinated by Shakespearean
characters (Richard III and Lady Macbeth) who is both whimsical (her appreciation of caprice and
inconstancy ) and provocative (hating virtue, valuing laziness, admiring assassins the creator of Epinal
images!). She speaks with a compounded freedom, of thought and tone.
She is marked by a certain kind of feminism (the man must obey his wife, who in turn must enrage
her husband), and is moved by a fascination with exceptional women of the literary imagination
(Lady Macbeth, who went mad) and as well a woman of real existence (Louise Michel). She reveals
herself through a certain animosity she bears towards women of the servant class, seductive rivals
(sculptors’ models, including ... Rose Beuret) and mothers who have too many children. Among men
she admires criminals of the day (Pranzini , Troppmann) rank with a mad king (Richard III, greedy for
power and revenge), as well as a popular but overrated hero (General Boulanger) and … the hated
coachmen (did she encounter unpleasantnesses in the transport of her work?). A bit of humor breaks
out here and there: her wish to be a cab‐horse, to do nothing at all, her disinclination to identify
herself on the spot, her declaration that she herself is her “favorite painter," and the imagination she
brings to forenames –all those things help illuminate what we think we know about the life of CC.
3.4. A taste for revolt is expressed by proxy around Blanqui. The personality of CC affirms itself
and hardens in a letter to the journalist Gustave Geffroy (1905) shows.
I consider Blanqui to be an instinctive rebel, he does not know what he rebels against
but he feels himself in the wrong in a world immersed in error and he fights continually
without however knowing where the truth lies. In many respects, his philosophy, his
reflections on Christianity and the secret destinies of the human soul lie close to what I
think. He debates the great struggle within himself, but in a fog too thick; he struggles in
vain and succumbs, the time of enlightenment has not yet come.
4. The“biography” as sculpted by Rodin
Auguste Rodin, her master in art and love, undergoes changes of feeling time and again in the
course of sculpting his artist and inspiration. His work follows the sequences and the successive
emotions of their relationship (1883‐1893). The sequence is a fragile one because the sculpture
develops as it changes: it is revised, melted down or remelted. Rodin portrays this object of his love.
She is often reduced to face and hands (except the Danaïde and suggested scenes of a couple). This is
the journey of their relationship in 3 D. It has the qualities ‐‐and limitations‐‐ of a perception of the
artist CC by another in a high state of love. Note that the material chosen is predominantly white
except for two portraits in bronze (1884, 1904).
4.1 The beginning phase marked by naturalist portraits of CC. Her face, its form and parts, are
explicitly pensive and sulky.
4.2. The phase of love where she is the inspiration as model or exalting muse.
The Eternal Spring (1884) shows the ardor of the spirit of love in a couple body to body.
The bewitching Danaïde forms her body into a curve of sublime sensuality (1885). At the same
time desiring and offered to the desire of the other, she reveals the loving body in love.
Fugit Amor (1885) presents the love duet in a spontaneous pose: it marks the power of the
woman who inspires, and male abandonment. The happiness is inside such a back to back.
The Kiss (1888‐1898) and The Eternal Idol (1889) reinvokes the fervor of the same period without
the model necessarily being CC.
4.3. The phase of crisis and rupture:
The Convalescent (1892) is again represented by the ensemble of head and hands, which have
become the essence of her being. Camille emerges from the raw marble, hands clenched and
clamped over her mouth, as if condemned to silence. Is it a representation of her after a possible