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arts-dance · 5 years ago

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Camille Claudel’s 155th Birthday

Born 8 December 1864 - Fère-en-Tardenois, Aisne, Second French Empire Died 19 October 1943 (aged 78) - Montdevergues, Vaucluse, Vichy France

Camille Claudel (French pronunciation: [kamij klɔdɛl] (listen); 8 December 1864 – 19 October 1943) was a French sculptor who died in relative obscurity, but has gained recognition for the originality and quality of her work.[1][2] Claudel is known for such sculptures as The Waltz, The Mature Age, and others.

The national Camille Claudel Museum in Nogent-sur-Seine opened in 2017, and the Musée Rodin in Paris has a room dedicated to her works.

Creative period

Study with Alfred Boucher

Claudel was fascinated with stone and soil as a child, and as a young woman she studied at the Académie Colarossi, one of the few places open to female students.[5] She studied with sculptor Alfred Boucher.[6] (At the time, the École des Beaux-Arts barred women from enrolling to study.)

In 1882, Claudel rented a workshop in Paris with Jessie Lipscomb, Emily Fawcett and Amy Singer, the daughter of John Webb Singer, whose foundry in Frome, Somerset, made large-scale bronze statues that are familiar today. Several prominent Frome works are in London, including the Boadicea group on the Embankment, Cromwell, which graces the lawn in front of the Houses of Parliament, and the figure of Justice atop the Old Bailey. General Gordon on his camel at Chatham Barracks was also cast in Frome, as were the magnificent eight lions that form part of the Rhodes Memorial in Cape Town. Claudel visited Frome and the families of her fellow sculptors. All of these English friends had studied at the South Kensington Schools – that would become the Royal College of Art – before moving to Paris to be at the Academie Colarossi, where they had all met. Camille obviously felt very at home with Amy’s family in Frome and prolonged her stay.[7]

Alfred Boucher had become Claudel's mentor, and he also provided inspiration and encouragement to the next generation of sculptors such as Laure Coutan. Claudel was depicted by Boucher in Camille Claudel lisant,[8] and later she sculpted a bust of her mentor.

After teaching Claudel and the other sculptors for over three years, Boucher moved to Florence. Before he left he asked Auguste Rodin to take over the instruction of his pupils. Rodin and Claudel met, and their artistic association and the tumultuous and passionate relationship soon began.

Auguste Rodin

Claudel started working in Rodin's workshop around 1884 and became a source of inspiration for him. She acted as his model, his confidante, and his lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with Rose Beuret.

Knowledge of the affair agitated her family, especially her mother, who already detested her for not being a boy and never approved of Claudel's involvement in the arts.[9][10][11] As a consequence, Claudel left the family home.

In 1892, after an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until 1898.[12]

Le Cornec and Pollock state that after the sculptors' physical relationship ended, she could not get the funding to get many of her daring ideas realized, because of gender-based censorship and the sexual element of her work. Claudel thus had to either depend on Rodin to realize them, or to collaborate with him and let him get the credit as the lionized figure of French sculptures. She also depended on him financially, especially since her loving and wealthy father's death. This allowed her mother and brother, who were suspicious of her lifestyle, to keep the money and let her wander around the streets dressed in beggars' clothes.[13]

Claudel's reputation survived not because of her once notorious association with Rodin, but because of her work. The novelist and art critic Octave Mirbeau described her as "A revolt against nature: a woman genius." Her early work is similar to Rodin's in spirit but shows imagination and lyricism quite her own, particularly in the famous The Waltz (1893).

Louis Vauxcelles states that Claudel was the only sculptress on whose forehead shone the sign of genius like Berthe Morisot, the only well-known female painter of the century and that Claudel's style was more virile than many of her male colleagues. Others, like Morhardt and Caranfa, concurred, saying that their styles have become so different, with Rodin being more suave and delicate and Claudel being vehement with vigorous contrasts, which might have been one reason that led to their break up, with her becoming ultimately his rival.[14][15][16]

Claudel's onyx and bronze small-scale La Vague (The Wave) (1897) was a conscious break in style from her Rodin period. It has a decorative quality quite different from the "heroic" feeling of her earlier work.

Legacy

Though she destroyed much of her work, about 90 statues, sketches and drawings survive.

Some authors argue that Henrik Ibsen based his last play, 1899's When We Dead Awaken, on Rodin's relationship with Claudel.[53][54][55][56]

In 1951, Paul Claudel organized an exhibition at the Musée Rodin, which continues to display her sculptures. A large exhibition of her works was organized in 1984. In 2005 a large art display featuring the works of Rodin and Claudel was exhibited in Quebec City (Canada), and Detroit, Michigan, in the US. In 2008, the Musée Rodin organized a retrospective exhibition including more than 80 of her works.

The publication of several biographies in the 1980s sparked a resurgence of interest in her work.

Camille Claudel (1988) was a dramatization of her life based largely on historical records. Directed by Bruno Nuytten, co-produced by Isabelle Adjani, starring herself as Claudel and Gérard Depardieu as Rodin, the film was nominated for two Academy Awards in 1989. Another film, Camille Claudel 1915, directed by Bruno Dumont and starring Juliette Binoche as Claudel, premiered at the 63rd Berlin International Film Festival in 2013. The 2017 film Rodin co-stars Izïa Higelin as Claudel.

Composer Jeremy Beck's Death of a Little Girl with Doves (1998), an operatic soliloquy for soprano and orchestra, is based on the life and letters of Camille Claudel. This composition has been recorded by Rayanne Dupuis, soprano, with the Slovak Radio Symphony Orchestra.[57] Beck's composition has been described as "a deeply attractive and touching piece of writing ... [demonstrating] imperious melodic confidence, fluent emotional command and yielding tenderness." [58]

Seattle playwright S.P. Miskowski's La Valse (2000) is a well-researched look at Claudel's life.[59][60]

Composer Frank Wildhorn and lyricist Nan Knighton's musical Camille Claudel was produced by Goodspeed Musicals at The Norma Terris Theatre in Chester, Connecticut in 2003.[61]

In 2005, Sotheby's sold a second edition La Valse (1905, Blot, number 21) for $932,500.[62] In a 2009 Paris auction, Claudel's Le Dieu Envolé (1894/1998, foundry Valsuani, signed and numbered 6/8) had a high estimate of $180,000,[63] while a comparable Rodin sculpture, L'éternelle Idole (1889/1930, Rudier, signed) had a high estimate of $75,000.[64]

In 2011 world premiere of Boris Eifman's new ballet Rodin took place in Saint-Petersburg, Russia. The ballet is dedicated to the life and creative work sculptor Auguste Rodin and his apprentice, lover and muse, Camille Claudel.[65]

In 2012, the world premiere of the play Camille Claudel took place. Written, performed and directed by Gaël Le Cornec, premiered at the Pleasance Courtyard Edinburgh Festival, the play looks at the relationship of master and muse under the perspective of Camille at different stages of her life.[

In 2019, to mark the 155th anniversary of Claudel's birth, Google released a Google Doodle commemorating her.

https://en.wikipedia.org/wiki/Camille_Claudel

Camille Claudel née à Fère-en-Tardenois (Aisne) le 8 décembre 1864, et morte à Montdevergues (Montfavet - Vaucluse) le 19 octobre 1943, est une sculptrice et artiste peintre française.

Collaboratrice, maîtresse et muse du sculpteur Auguste Rodin2, sœur du poète, écrivain, diplomate et académicien Paul Claudel, sa carrière est météorique, brisée par un internement psychiatrique et une mort quasi anonyme. Un demi-siècle plus tard, un livre (Une femme, Camille Claudel d'Anne Delbée, 1982) puis un film (Camille Claudel, 1988) la font sortir de l'oubli pour le grand public.

Son art de la sculpture à la fois réaliste et expressionniste s'apparente à l'Art Nouveau par son utilisation savante des courbes et des méandres.

https://fr.wikipedia.org/wiki/Camille_Claudel

#Camille Claudel

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popmusicgeneration · 5 years ago

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Unpopular Opinion: Everyone Should Listen to Taylor Swift

by Elyse Wassem

People love to hate Taylor Swift. It’s a fact of life in today’s culture, although I think it’s entirely unfair. For years, the public has found any nit-picky reason to “cancel” Swift and put the blame on her for any drama involving her. (And there has definitely been a lot of drama.) Everyone knows of that now infamous scene at the 2009 MTV Video Music Awards when Taylor was interrupted by Kanye West as she stepped on stage to accept her award for Best Female Video. Even as a bright-eyed 19-year-old just truly breaking into the mainstream music scene, she couldn’t have any successes without people trying to bring her down and minimize her talents as a singer and songwriter.

This unfortunate trend has continued throughout Taylor Swift’s career and has been a consistent thorn in her side for over a decade. She has had to deal with countless media storms and a seemingly endless amount of drama, but has continued to write and record powerful and culturally important songs. Her perseverance in continuing to make music despite all of the hate that has been thrown her way and the excessive scrutiny from the press makes it obvious that she loves what she does and cares about making a difference through her songs. I think that most people automatically categorize Taylor Swift and her music as “basic” without ever listening closely and thinking about what she’s trying to convey in her lyrics. There are so many reasons to give Swift and her music a chance to gain your appreciation and maybe eventually even your love, including her versatility, honesty, and advocacy.

She’s Versatile

Starting out in country music, Taylor Swift began her career as a young teenager whose songs were mostly about crushes, heartbreaks, and high school. Most people know that she continued to write breakup songs even as she made the seamless transition from the country genre into the mainstream pop scene with the release of her 2012 album Red and 2014 album 1989. Although many of her critics would like to say she only writes about bad breakups, her discography tells a different story, as it includes a variety of songs covering different emotions and topics. While her songs do include a lot of lyrics about the ending of relationships, there are also a lot about tough life-changing experiences and happy times in her life. “22” is a song that just about everyone knows, and it is upbeat and all about enjoying fun times with your friends, while “Soon You’ll Get Better” is an emotional song Taylor wrote while dealing with her mother’s cancer diagnosis and treatment.

Swift has also expanded her musical career to include songwriting for films. She wrote the heart-wrenching original song “Beautiful Ghosts” for the 2019 movie, Cats, which she also had an acting role in. Although there were a lot of negative reviews about the movie as a whole, Taylor Swift’s song was nominated for Best Original Song at the 2020 Golden Globe Awards. The 2020 nomination was her third in that category, exemplifying her ability to write a wide variety of songs. It doesn’t matter if you like peppy songs, show tunes, or songs that are good to cry to, because Taylor Swift has all of the above and everyone can find a song of hers to connect with.

She’s Honest

Swift’s music has changed a lot over the years and both the sound and message of her music have evolved as she has matured and had new experiences. Her musical evolution is evident of her growing into herself while constantly being scrutinized by the media and the public. Her two most recent albums are self-aware and honest in a way that most artists don’t dare to embrace. Her 2017 album reputation was a new and darker direction for Swift, as her previous albums avoided directly confronting the drama that she’s been involved in. However, in reputation, she wrote truthfully about her feelings surrounding the well-publicized feud with Kanye West. That album was a way for Taylor to set the story straight by telling her side of things and expressing how she truly felt about the feud itself and the ensuing press coverage, which was overwhelmingly critical of Swift.

She continued her openness in her 2019 album Lover, by writing about the same aforementioned feud in the song “I Forgot That You Existed”, but now revealing how her anger about the situation has disappeared and been left in her past. While many would say that her early career was built on songs about boyfriends, Taylor delves into a new and deeper level of vulnerability about relationships in Lover. She had been notoriously private about her relationship with British actor Joe Alwyn and had almost completely avoided talking about him with the press, but she included many songs about their relationship in Lover. The songs “London Boy” and “Paper Rings” both give fans a new insight into how her and Alwyn’s relationship has progressed, from the early days before they were official to where they stand now. By being brutally honest and vulnerable in her music, Taylor allows her listeners to trust her and connect better with her songs.

She’s Not Afraid To Get Political… Anymore

Taylor Swift used to be notoriously tight-lipped about all things political. She explained the reasoning behind her being so quiet for so long and why she decided to start speaking up about her political views in her 2020 Netflix documentary Miss Americana. When she began her career in music, she started out as a country artist and revealed in Miss Americana that her “label executives and publishers would say “Don’t be like the Dixie Chicks.””, because their split-second comment against President George W. Bush and the Iraq war in 2003 led to a flurry of name-calling and boycotting by conservatives. Swift went on to explain that she felt that her career was based on her being a “nice girl” and that it was a core part of her worth as an artist. She didn’t want to ruin her good girl image or jeopardize her career by saying something that people wouldn’t agree with and ostracizing her devoted fans, because she was led to believe that “a nice girl doesn’t force their opinions on people” and “a nice girl doesn’t make people feel uncomfortable with her views.”

However, on October 8, 2018, Taylor posted a paragraph in an Instagram caption, revealing for the first time ever that she would be voting for the Democratic candidates in the Tennessee elections for Senate and House of Representatives. She not only declared who she was going to vote for, but explained why she would not be voting for the female candidate, Marsha Blackburn, because of her voting record on issues like protecting women from domestic violence and the rights of LGBTQ+ people. Taylor also wrote “In the past I’ve been reluctant to publicly voice my political opinions, but due to several events in my life over the past two years, I feel very differently about that now.” In making just that one Instagram post, she ended her long-standing political silence, and paved the way for her to make political statements with her music.

In Miss Americana, this pivotal moment of Taylor deciding to talk about politics is included in a tense scene where her father tries to talk her out of making the post. Taylor and her mother both try to get her father to understand her decision and Taylor defends her reasoning by saying that “this is something that I know is right, and… I need to be on the right side of history.” When Swift released her documentary, she also released a new song titled “Only The Young”, which is outspokenly political and condemns the government for not doing enough to help stop gun violence. This song is a call to action trying to encourage young people to vote and make a difference in the world. While there are certainly people who might not agree with her views, I applaud her decision to stand up for what she believes in and her effort to bring awareness to issues she believes are important to fight for or against in today’s society.

She’s An Advocate

In her latest album, Lover, Taylor Swift not only strayed from her edgy reputation-era sound and relatively aggressive lyrics into a happier and more peaceful album, but she also penned several songs addressing real problems that are prevalent in society. In her second promotional single from Lover, “You Need To Calm Down”, Swift tries to bring awareness to issues affecting the LGBTQ+ community, including online hate, homophobia, and aggressive protests. In the prideful and empowering lyrics, Swift even includes a shout-out to LGBTQ+ advocacy media organization GLAAD, giving many fans another reason to call her an ally.

Another issue that Swift feels passionate about is feminism and equal rights for women. She uses her music as a way to call out and stand up against the double standards that women face in both music and the media today. “The Man”, from her album Lover, is a catchy song with a powerful message about how women have to work a lot harder than men do in order to be recognized for their achievements. Swift sings about how she’s been perceived to be a person who doesn’t the success that she’s gotten, but how men who do the same things she’s done not only get credit for what they’ve done, but they also get praised for it. She also references the Me Too Movement and her own experience with being a victim of sexual assault by including the lyrics “When everyone believes ya/ What’s that like?”, pointing out the fact that a lot of women aren’t believed when they come forward to report harassment or assault. This song is a very direct way of calling out the media, the music industry, and society as a whole by emphasizing the struggles that authoritative and influential women face purely based on the fact that they’re female. Taylor’s advocacy not only lets fans feel like they’re cared about and understood, but the awareness she raises can lead to real changes.

Just Listen

I know that not everybody likes every genre of music, but I think that a lot of people discount pop music and the hardworking and talented artists, like Taylor Swift, who make pop music, for no actual reason at all. While not all pop music appeals to all people, it is called “popular” music for a reason, and if a large portion of the public likes it, there’s a good chance that anybody who starts listening with open ears and an open mind can find something to enjoy about it. I think Taylor Swift is a great artist to listen to, with a wide variety of sounds and songs for every emotion and occasion to get you started in your journey to loving pop music.

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