Conceived in 1884, cast in July 1971.
Camille Claudel au bonnet [Bust of Camille Claudel Wearing a Bonnet]
Auguste Rodin (1840-1917)
Height
24.8cm
Inventory Number
Bronze with a dark brown and green patina
Materials
Marks & Inscriptions
RCG0022
Signed A. Rodin with repeat interior signature. Incribed No. 11 © by Musée Rodin 1971 and with foundry mark Georges Rudier Fondeur Paris. Edition of 11.
Images
Conceived in 1884, only three casts were made during Rodin’s lifetime, they were made between 1913 and 1917. The Musée Rodin then commissioned two casts from the Alexis Rudier foundry between 1922 and 1927 and a finally an edition of a further 11 casts were made by the Georges Rudier Foundry between 1966 and 1974. So, a total edition of 16 examples.
Rodin met Claudel in 1882, after he took over from Alfred Boucher as supervisor of a small group of female sculptors based at a studio in Rue Notre-Dame des Champs, Paris. By all accounts Claudel was the most prominent member of the collective and according to Jessie Lipscomb (a fellow sculptor), she chose the models, explained the poses, and handed out the work to the others.
Rodin and Claudel soon became lovers and greatly inspired one another. ‘I have said that Mademoiselle Camille Claudel was Rodin’s pupil’, explained Mathias Morhardt in 1898. ‘It would be nearer the truth to say that she became his perceptive and sagacious co- worker’ (Indeed, Rodin so trusted Claudel, that he asked her to assist him with the modelling of the hands and feet on his monument to The Burghers of Calais. Claudel also became a significant artist in her own right and her works La Valse, L’implorante and L’abandon are widely regarded as masterpieces of late 19th century sculpture.
The present work was modelled in 1884, only two years after Rodin met Claudel, with the artist later using the same face in a number of allegorical portraits including Thought, Farewell and The Convalescent. He did not exhibit the piece during his lifetime.
Rodin’s romantic relationship with Claudel lasted from shortly after the couple met, until around 1892, although they saw each other regularly until 1898. By 1905 Claudel had begun to display signs of mental illness and began a secluded life in her studio. In 1913, after the death of her father and at the instruction of her brother, she was committed to a psychiatric hospital. Although she showed continual signs of recovery and the doctors recommended, she left the hospital, Claudel’s family insisted that she remained interned. She died in 1943 after thirty years in institutional care.
Openning Hours
10:00am – 18:00pm
Location
The Arkın Clock Tower - Arkın Group Headquarters
Conceived in 1884, only three casts were made during Rodin’s lifetime, they were made between 1913 and 1917. The Musée Rodin then commissioned two casts from the Alexis Rudier foundry between 1922 and 1927 and a finally an edition of a further 11 casts were made by the Georges Rudier Foundry between 1966 and 1974. So, a total edition of 16 examples.
Rodin met Claudel in 1882, after he took over from Alfred Boucher as supervisor of a small group of female sculptors based at a studio in Rue Notre-Dame des Champs, Paris. By all accounts Claudel was the most prominent member of the collective and according to Jessie Lipscomb (a fellow sculptor), she chose the models, explained the poses, and handed out the work to the others.
Rodin and Claudel soon became lovers and greatly inspired one another. ‘I have said that Mademoiselle Camille Claudel was Rodin’s pupil’, explained Mathias Morhardt in 1898. ‘It would be nearer the truth to say that she became his perceptive and sagacious co- worker’ (Indeed, Rodin so trusted Claudel, that he asked her to assist him with the modelling of the hands and feet on his monument to The Burghers of Calais. Claudel also became a significant artist in her own right and her works La Valse, L’implorante and L’abandon are widely regarded as masterpieces of late 19th century sculpture.
The present work was modelled in 1884, only two years after Rodin met Claudel, with the artist later using the same face in a number of allegorical portraits including Thought, Farewell and The Convalescent. He did not exhibit the piece during his lifetime.
Rodin’s romantic relationship with Claudel lasted from shortly after the couple met, until around 1892, although they saw each other regularly until 1898. By 1905 Claudel had begun to display signs of mental illness and began a secluded life in her studio. In 1913, after the death of her father and at the instruction of her brother, she was committed to a psychiatric hospital. Although she showed continual signs of recovery and the doctors recommended, she left the hospital, Claudel’s family insisted that she remained interned. She died in 1943 after thirty years in institutional care.
Images