Rodin's Lover (35 page)

C
amille Claudel’s career reached its apex in the first years after her final split with Auguste Rodin. Her hard work, as well as Rodin’s tutelage, had begun to pay off, and she exhibited her work somewhat regularly in Paris. In an effort to delineate her vision from her lover-teacher’s, Camille ventured in a new direction, experimenting with materials and ideas yet unexplored by either of the pair. If Rodin produced grand-scale works in the nude, she created smaller pieces of intimate scenes, figures clothed; if he worked with soft marble, she utilized the hardest jade and onyx, demonstrating her immeasurable talent for crafting with difficult materials.

During this time, Camille’s interest in Japan blossomed, along with a fascination with Art Nouveau—a style emphasizing curved lines and natural scenes. Her most notable works of this period include
The Age of Maturity
,
The Wave
, and
The Gossips
, among others.

Though she battled progressive mental illness, Camille continued to work and exhibit until 1905. As promised, her brother, Paul, donated her pieces to the Musée Rodin, but not without repeated prompts from Rodin himself and his critic friend Mathias Morhardt. Today, the largest collection of her works resides in the museum at the Hôtel Biron in Paris.

Much can be debated about the life of Camille Claudel. Did her style derive from Rodin’s experience and artistic lens? Certainly, as her style also evolved from her own inspirations and those of her first art tutor, Alfred Boucher. But Camille influenced Rodin a great deal as well, as shown in his “beautiful period,” between 1883 and 1898, the
dates coinciding with their relationship. In this book, I demonstrate this co-influence.

Another question arises about the date of Camille’s final break from Rodin. While some sources cite 1893 as their separation, others favor 1898, the date of Camille’s last letter to Rodin, in which she praises his
Monument à Balzac
, the controversial piece entwined with the Dreyfus affair. Since relationship lines blur and the lovers had such a tumultuous affair, I portrayed their final days together in the later year.

In addition, some histories assert Camille’s mental diagnosis to be dementia; others, schizophrenia. The rash behaviors and violent outbursts that intensified for Camille around age eighteen and progressed through adulthood, as well as the crippling isolation and paranoia later in her life, are characteristic of schizophrenia, as are the variable waves of its symptoms. Whether or not Camille heard voices is up for discussion, but it is one of the most common symptoms of the illness. I chose to use these voices to highlight the inner workings of her mind and the ways in which she battled not only the male-dominated art world, but herself.

Fictionalized elements in the story include policeman Alphonse Bertillion’s courtship of Camille, though he was, in fact, the earliest known criminologist. While there is a historical account of Rose Beuret shooting at Camille, the policeman on the scene was not Bertillion. Other fictional elements involve Camille’s tutors Monsieur Colin and Alfred Boucher, who both visited her originally in the town of Nogent-sur-Seine, rather than at the Claudels’ summer home in Villeneuve. I also invented Jules Dalou’s flirtation with Camille, of which there is no record; and his attending Victor Hugo’s birthday celebration in 1883, though he attended a fete in 1885. Finally, Camille’s works
Young
Girl with a Sheaf
and
Head of a Slave
were claimed by Rodin and labeled
Galatée
and
Tête de Rieur
three years after Camille had designed her own, as illustrated in the novel, but neither piece was exhibited at the 1889 Exposition Universelle.

Though all letters and reviews have been fabricated, they are based upon authentic letters and journal reviews. The only exception is one in which Rodin quotes reviewer Jules Claretie from
Le
Temps
, May 5, 1898, regarding his
Monument à Balzac
, which is, indeed, authentic.

For more information about Camille Claudel’s life and times, visit my website at www.HeatherWebb.net.

T
here aren’t enough words in the English language to express my gratitude to Michelle Brower, the kind of agent writers dream of. And to the entire team at Plume, especially my lovely editor Denise Roy and my publicist, Mary Pomponio—I thank you from the bottom of my heart. Also, there’s no replacing a great copy editor, so thank you, Kym Surridge.

While I am lost in the rabbit hole of research, certain questions arise that demand the input of experts. For
Rodin’s Lover
, I owe special thanks to Chris Troup, Kerry Schafer, and Andrea Catalano—authorities and friends.

I’d like to thank early readers and dear friends Susan Spann, Julianne Douglas, Kris Waldherr, Chris Troup, and L. J. Cohen for all of their input and cheerleading. I’m not sure where I would be without you.

To my rockin’ critique group, the SFWG, for their continued support and love: Amanda Orr, Janet B. Taylor, Marci Jefferson, Candie Campbell, DeAnn Smith, and Arabella Stokes. Writing in a bubble without friends just isn’t as much fun.

I owe much gratitude to my former student-turned-artist, and a brilliant one at that, Joshua DeLillo, for beautiful renditions of Camille’s pieces:
L’Aurore
,
La Valse
, and
La Vague
. I hope to view your works in a museum one day, Joshua.

Lastly, my beloved family and friends—you inspire me with your love, courage, and wisdom daily. You make this life, and this passion of mine, an incredible experience.

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