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abortion. The suffering is so unbearable that the bare outline of the face remains incomplete,
mirroring the situation of the couple.
Farewell (1892), the termination of the time of love. The hands still held before the open mouth, a
replacement for words. They are the hands of love, but also of the practitioner whose strength and
manual intelligence served the master. A mask, besides, represents her with the hand of one of the
Bourgeois de Calais, made by herself.
4.4. The final phase of idealization turns the beloved into myth. It is certain that CC began
already by being represented as a symbol of purity (Aurora, 1885), but that was a common case,
applying to everyone. These last works certify the uncontested value and esteem for an artist, of
whom Rodin couldn’t assume the possibilities of both love and genius.
La pensée (1893) brings out allegorically the face Camille from a block of marble hardly smoothed
out. Is she a post‐script to Le penseur whose entire body is engaged in thinking?
France (bronze, 1904) unites the face of a nation.
5. Historical quest (in French language)
The number of articles, biographies, catalogs, films, sculptures, and theater pieces show that
Camille, once a powerful artist and then helpless and mute, holds a great fascination.
5.1. The file.
Historian Jacques Cassar is the first real "archivist" of CC, in 1987. This determined researcher
brings her out of oblivion, to recognition. The literary study of Paul Claudel revealed to him the
existence of Camille, who as a teenager had done a number of busts of her brother. Her talent,
hidden till then, served only to enhance her brother. For twelve years, Cassar searched through
libraries and museums, and consulted the archives of the Claudel family. The Dossier Camille Claudel
consists of letters, documents and newspaper articles.
5.2. Correspondence.
Anne Rivière and Bruno Gaudichon, Camille Claudel: Correspondence (reedited in 2014). This
outstanding correspondence explains or corrects the historical truth mishandled by the first
biographies. According to the authors, "excerpts of letters from the artist to her brother, her mother,
and Rodin have also been widely used in books, catalogs, television shows and feature films. The
third and final reissue adds 36 new significant letters.
5. 3. The catalog "raisonné":
Anne Rivière, Bruno Gaudichon, Danielle Ghanassia have established the remarkable catalogue
"raisonné" Camille Claudel. (2000, 2001) It presents the Romanian collectors, her English partner
Jessie Lipscomb, the sculptures , paintings , drawings, prints , works not retained, letters to Florence
Jeans and Gustave Geffroy, documents from the years of confinement 1913‐1943 with new
perspectives (chronology, bibliography and various updates). This is the most reliable work of
documentation.
6. Biographical quest
A number of the biographers are appropriately women: six worked solo, two as a duet. The
solitary approach creates an intimate relationship between the biographer and artist whose work
and history echo within the self of the biographer. A secret force, perhaps a friendship beyond the
usual, joins the dead artist with the living biographer.
6.1. Biography focuse on the artist only.
The first to bring CC into the light is Anne Delbée. This actress produced a play (1981), then she
write an eponymous book, Une femme, the following year. She provides a pithy summary: “thirty
years of creative work, thirty years of confinement in an asylum."