Camille Claudel

Camille Claudel


Artist Details

Birth Place
Fère-en-Tardenois, France
Death Place
Montfavet, France
Phonetic Spelling
kah-(mee-l) kloh-dehl
Painting; Sculpture
Places of Residence
Private lessons, 1883–92; Académie Colarossi, Paris, 1882
Retrospective Exhibitions

Camille Claudel: 1864-1943, National Museum of Women in the Arts, Washington, D.C., 1988; Camille Claudel, Musée Rodin, Paris, 1984

NMWA Exhibitions

Four Centuries of Womens Art: The National Museum of Women in the Arts, 1990–91
Camille Claudel: 1864-1943, 1988

About the Artist

Renowned for her ability to communicate narrative in sculpture, Camille Claudel is also remembered for her personal and professional relationship with Auguste Rodin, which often threatened to overshadow her own work. 

Born in northern France, Claudel moved with her family to Paris around 1881. Early on, she was recognized for both her artistic talent and her physical beauty. After studying sculpture at the Académie Colarossi, she shared an independent studio where Alfred Boucher taught. In 1885, Auguste Rodin asked Claudel to become a studio assistant.

Much attention has been focused on Claudel’s relationship with Rodin—her teacher, mentor, and lover. By working as Rodin’s apprentice, she had the chance to study the nude figure and anatomy, an unusual opportunity for a woman in the 19th century. She modeled hands and feet for Rodin’s Burghers of Calais and posed for figures in his Gates of Hell. By 1893, because of Rodin’s prominence in French culture, Claudel secluded herself in her studio to focus on creating work that would establish her own reputation.

Claudel’s nuanced portrayals of the human form resulted in certain sculptures that the state and press censored as overly sensual and inappropriate. These circumstances may have contributed to her declining career and mental state. In 1913, Claudel was committed to a mental asylum, where she remained until her death 30 years later. Her complex personal drama has brought her scholarly and popular attention, yet her critical acclaim came foremost from her unrivaled ability to convey narrative in marble and bronze sculptures.

National Museum of Women in the Arts