Dear Camille Claudel, It easy to enter inside the city when I have painted last lost midnight without any midnight dogs interruption after watching your statues in me. Heard that you had flooded up your whole life in tears that no one can ever estimate in their middling senses. Death works are continued by your smooth fingers in a heavy amount of dope challenge. You welcomed the ferocious pain through a chisel like the words are submerged while you hollered at this world. Lonely you laughed like a devil in a room instead of crying, your eyes, your hands are your eyes, your fingers are your senses, it found the alive people inside the white stones. When he said to you, “You and I are freaks of nature. We’re the same breed”, then you replied to him, “You’re dreaming, Rodin. An idyllic romance in a castle…we’re two ghosts in a wasteland”. You are right, we all are ghosts, nude ghosts, our ugly finger nails are peeling each others skin, eating the eyeballs, biting the neck with our sharp teeth, chopping our members. Your sweating hands might be very tasty, I wish I could have crush it by my brown teeth. Can you come out from the coffin? Can you sculpt me by your male hands? What was in your mind when you are working “The Implorer”? Touch my body, caress my ego, slap me as much as possible, calculate my details, spit inside my mouth, lick my eyes, bit my chest, punch my stomach, pull my hair so wild, rip my organ if you dislike the male sadist inside me, then change the shape of me up to your imagination to kill the cruel orgasm without any fellow feeling. Some missing pieces are the only witness for your story which was uprooted from this earth. Someone is walking with your shadows that you left behind your death, death of stones, show me the pieces of your porkies. Following your shadows in a candle light to advice you in me to learn the art of ignorance. Dear death, after finishing the statues, my foot steps will come towards you to get the salt kisses from you. Allow me in that time, trust me, there is no space in between anyone. Don’t feel guilty to ignore me in the time of dark. Camille, are you still crying for yours sculptures or for your lost love? You have already killed your nights to get a dreamless sleep. Laughing at you sometimes to hit you with my cunning tone to dissolve you in my strange disgusting land. You are a poison ivy to yourself, slowly that poison burning the skin of my words, they are mixed up with past and present calculations to put an end without an end.

visite du musée rodin avec les bps3

camille Claudel

Ok Allana, não adianta que não vamos chegar lugar nenhum, tenha uma boa sorte.

Camille Claudel em 1881, parte para Paris e ingressa na Academia Colarossi, tendo por mestre primeiramente Alfred Boucher e depois Auguste Rodin. É desta época que datam suas primeiras obras que nos são conhecidas: A Velha Helena (La Vieille Hélène — coleção particular). Rodin, impressionado pela solidez de seu trabalho, admite-a como aprendiz de seu ateliê da rua da Universidade em 1885 e é nesse momento que ela colaborará na execução das Portas do Inferno (Les Portes de l’Enfer) e do monumento Os Burgueses de Calais (Les Bourgeois de Calais).

Tendo deixado sua família pelo amor de Rodin, ela trabalha vários anos a serviço de seu mestre e mantendo-se à custa de sua própria criação. Por vezes, a obra de um e de outro são tão próximas que não se sabe qual obra do mestre ou da aluna inspirou um ou copiou o outro. Além disso, Camille Claudel enfrenta muito rapidamente duas grandes dificuldades: de um lado, Rodin não consegue decidir-se em deixar Rose Beuret, sua companheira devotada desde os primeiros anos difíceis, e de outro lado, alguns afirmam que suas obras seriam executadas por seu próprio mestre. Assim sendo, Camille tentará se distanciar, percebendo-se muito claramente essa tentativa de autonomia em sua obra (1880-94), tanto na escolha dos temas como no tratamento: A Valsa (La Valse — Museu Rodin) ou A Pequena Castelã (La Petite Châtelaine, Museu Rodin). Esse distanciamento segue até o rompimento definitivo em 1898. A ruptura é marcada e contada pela famosa obra de título preciso: A Idade Madura (L’Age Mûr – Museu d’Orsay).

Ferida e desorientada, Camille Claudel nutre então por Rodin um amor-ódio que a levará à paranóia. Ela instala-se então no número 19 do quai Bourbon e continua sua busca artística em grande solidão apesar do apoio de críticos como Octave Mirbeau, Mathias Morhardt, Louis Vauxcelles e do fundidor Eugène Blot. Este último organiza duas grandes exposições, esperando o reconhecimento e assim um benefício sentimental e financeiro para Camille Claudel. Suas exposições têm grande sucesso de crítica, mas Camille já está doente demais para se reconfortar com os elogios.

Depois de 1905, os períodos paranóicos de Camille multiplicam-se e acentuam-se. Ela crê em seus delírios que Rodin está apoderando de suas obras para moldá-las e expô-las como suas, que também o inspetor do Ministério das Belas-Artes está em conluio com Rodin, e que desconhecidos querem entrar em sua casa para lhe furtar as obras. Ela vive então em um grande abatimento físico e psicológico, não se alimentando mais e desconfiando de todos.

Seu pai, seu porto-seguro, morre em 3 de março de 1913. Em seguida, em 10 de março, ela é internada no manicômio de Ville-Evrard. A eclosão da Primeira Guerra Mundial levou-a a ser transferida para Villeneuve-lès-Avignon onde morre, após trinta anos de internação, em 19 de outubro de 1943, aos 79 anos incompletos.

Sua vida sufocada por um abandono, suas forças e sua lucidez esgotadas por uma relação umbilical com seu mestre e amante. Uma relação da qual não conseguiu desvencilhar-se, consumindo sua vitalidade na vã tentativa de desembaraçar-se desse destino perverso. Camille Claudel, sua forte personalidade, sua intransigência, seu gênio criativo que ultrapassou a compreensão de sua época, como afirma o personagem de Eugène Blot no filme, permanecerá ainda e sempre um Sumo Mistério.

fonte: Wikipédia

SP, 22/9/2009.

João, meu amigo

a primavera chegou e a urgência de encaminhar esse pequeno bilhete surgiu em meio as flores que brotaram no canteiro de Sônia.

depois desses anos todos, ainda sei o seu endereço de cor: joão luís – avenida 5, entre as ruas 40 e 42, número 853. talvez por isso, tenha reconhecido que não dá para apagar os sinais de tantos anos, os sons diversos e os cheiros dispersos na memória.

amanhã começo meu tratamento num acupunturista chinês. preciso descansar. meu sono foi despertado e parece insistir em deixar-me com os olhos esbugalhados durante a madrugada. marieta, a secretária do setor onde trabalho, tem me chamado de “urso panda”. já me diverti com isso, mas agora tem dado nos nervos.

há pouca coisa boa nesse estado de contínua vigília. uma delas, talvez a melhor, é que o velho e bom canal 10 tem exibido uma série de filmes de Hitchcock. ontem revi “os pássaros”. por uma dessas coincidências, o desgraçado do papagaio da Sônia começou a gritar repetidamente um versinho do Tim Maia. o meu coração veio até a boca e quase bati as botas, mas depois caí na risada por uns dez minutos ininterruptos. no dia seguinte, fiz questão de levar dois mamões para o bichinho comer.

iniciei a releitura do “homem dos ratos” e, paralelamente, textos críticos sobre a obra de Camille Claudel. chegou-me também o novo disco do Low Anthem. nada mais além disso.

espero que essa carta o encontre bem.

Aus einer Serie von 12 Bildern, alle Acryl auf Baumwolle, 120×100 cm

Aus einer Serie von 12 Bildern, alle Acryl auf Baumwolle, 120×100 cm

La Valse, Camille Claudel

]]> http://nemosandman.com/2009/03/19/interlude-sur-la-greve/ Thu, 19 Mar 2009 12:00:54 +0000 nemosandman http://nemosandman.com/2009/03/19/interlude-sur-la-greve/

INTERLUDE en raison de la grève du 19 mars 2009.

“Sur La Grève” de Françoise Naudet.

Hommage à Françoise NAUDET
(1928 – 2008)
Elle étudie la peinture, puis la sculpture à l’atelier de Gimond aux Beaux-Arts de Paris.
Son parcours est jalonné de diplômes, de prix, d’honneurs, de médailles, d’expositions dans le monde entier et dans les plus grands salons. Elle est, entre autre, membre du comité et du jury au salon des artistes français etc. Françoise Naudet est la femme sculpteur de cette fin de siècle, dans la continuité des Camille Claudel, Jane Poupelet, Germaine Richier; elle cultive sa propre personnalité, pour ne donner que l’essentiel à ses œuvres, sans lasser ni heurter jamais le regard. Sculpteur de très haute qualité, émotive, simple, femme différente des autres par une sensibilité hors du commun, nous la remercions pour ses oeuvres qui éveillent en nous une admiration sans retenue et nous conduisent à une infinie méditation. Ses œuvres sont présentes dans les collections publiques et privées du monde entier.

I wrote this poem July 17, 1998, and have titled, untitled, and re-titled it over the years.

This much I know
that in the days before you came,
I slept long, languid hours
drifting in and out of sleep while unseen familiar forces worked mightily
that my DNA wordlessly reorganized
that my psyche laid weather satellite maps over my flesh like a grid of divinity
that thunder rolled across the drought of my plains and I danced hiphop with Jesus Herself in a withering cornfield
that in my dreams a woman lit up a cigarette inside my front room and I said, “Oh  no, you can’t do that here!”

I know this much
that I snorted and whinnied like a thoroughbred in a too-small stall
that my legs ached from being folded too close against my underside,
that I needed to run for miles along that very edge where the water rises up like tendriled fingers to stroke the sand
that long wisps of hair needed to snap to attention on the valley sweep along the back of my neck and then fall to ease
that the gleam in my eye burned so hot that it frightened those who dared to look
that I couldn’t stop touching my own skin and then suddenly – without warning –
I couldn’t bear not to touch yours.

I know now
that Ayn wants me to be selfish at least as much as I want to be selfish myself
that I was soaked in a sea of mediocrity that could never take me under
that I too could stand in judgment and proclaim, “This I do not sanction!”
that the highest value unfurls the deepest doubt
that Camille snuck out in the night to pry wet clay away from the Mother’s bosom with her fingernails,
that she freed people from eternal entombment in the white rocks
that she penetrated his armor before falling on her own scimitar
that I can window shop my soul with eyes crossed like raised swords before you
and find myself in the glare of cold hard steel.

Camille Claudel (sculptor) was born on December 8, 1864 in Fere-en-Tardenois, in northern France but her childhood home was Villanueve-sur-Fere. She had a brother and a sister, they grew up in Villanueve-sur-Fere. She was close to nature, the trees, stones and soil, being from farmers and landed gentry on her mother’s side. She studied sculpture and art at the Academie Colarossi with Monsieur Alfred Boucher. Her favorite schoolmate was a lifelong friend who had rented the workshop where the girls had stayed while studying at the Academie, her name was Jessie Lipscomb. She was the only person who ever visited Camille, later, when she was wrongly committed to an insane asylum by her brother. They held her captive there (against her will and the recommendation of her own doctors) until her death in 1943.

She first met Auguste Rodin in 1883, he taught sculpture to Camille and her friends who were boarding together in their workshop, and started working for him 1 year later in his workshop. It is incorrect to think that they lived together. Rodin would never allow it, because of his other children and his longstanding affair with Rose, the other woman in his life. Camille and Auguste continued to be close friends until 1898 when their paths separated. Her first art exhibition was in 1903 at the Salon des Artistes Francais, and in the early days she also exhibited at the Salon D’Automne.

Source Cited:en.wikipedia.org/wiki/Camille_Claudel

Her name was Caira and she was 82 years old. She had just been told she had cancer and she only had a few months to live. She wanted to see her son one last time, so she traveled to Paris from Italy. Her son was a model to Jules Desbois, who took interest in modelling her. The son persuaded the mother to pose for the sculptor. That’s all the information I found on Caira. She must have been a very courageous woman to pose nude at that advanced age.  More than a century ago! Maybe it was her love for her child that made her take her clothes off her weathered body. Whatever the reason, she inspired three wonderful sculptors:  Desbois, a friend and assistant to Auguste Rodin, Rodin himself, and Camille Claudel, Rodin’s assistant, model and lover.

Desbois was first to model her in terra cotta (Rodin started working with her around the same time).  His work is titled “Misery”.

How could Misery leave anyone unmoved? You almost feel inclined to throw away those rags, cover her in a blanket and tell her she’ll be alright. Desbois’ approach provokes a strong emotional response.  

Rodin’s version, “The Helmetmaker’s Once Beautiful Wife” became part of his monument The Gates of Hell.

Rodin’s focus is on the physical appearance of the model. The work bluntly shows her exposed and aware of the ravages of time. And time is more cruel to women than men. “There is nothing ugly in art except that which is without character, that is to say, that which offers no outer or inner truth” - said Rodin.  He finds the inner beauty in this old woman in her vulnerability and dignity even as she resigns herself to fate.

Most shocking of the three sculptures, and the most original is Camille Claudel’s version of the aged model. She envisions her as Clotho, one of the Fates who spins the thread of destiny. Clotho is usually depicted as a young girl, but Camille chooses to show her as an old woman entangled in her thread. 

Claudel’s relationship with Rodin was falling apart around the time she was working on Clotho, which explains her preoccupation with destiny. 

The old woman resurfaced later as death in her most important work The Age of Maturity.

 Photo by Ch.Baraja

What a wonderful gesture from this old woman, Caira to trigger such powerful response by not one but three great sculptors!

“El amor conduce a la locura”, tal afirmación puede llevarse a cabo por los más variados caminos, pero hay un límite en que la locura se funde con el abandono, esto es exactamente lo que le ocurrió a la genial Camille Claudel.

Camille Claudel (1864-1943) es recordada en la historia como musa inspiradora de Auguste Rodin (1840-1917) y hermana de escritor Paul Claudel, mas pocos la recuerdan como la brillante escultora que siempre fue. Camille conoció a la edad de veinte años a un  famoso, cuarentón  y casado Rodin. Por estar con él debió enfrentarse a su familia y las costumbres de su época. El precio de su amor y de su aprendizaje fue mucho más alto: tuvo que tolerar que Rodin firmara sus obras, abortó dos veces y lo amó sin medida alguna. En la contraparte Rodin nunca dejó a su mujer.

La influencia de Rodin no se deja esperar en las primeras obras de Claudel, lo curioso es que después él se ve influenciado por la forma desgarradora, nudista y conmovedora con la que ella estampaba la expresión del los sentimientos y el alma humana, esta forma de mirar el cuerpo tal vez  nació por lo conflictivo de la relación, las variadas crisis y los violentos enfrenamientos con Rose, la esposa de Rodin.

Después de la ruptura definitiva, Camille se encierra en su taller, esquiva al mundo y continua exhibiendo sus obras en lugares tan importantes como el Salon d’Automne o el Salon des Independents. Con un gran desgaste en 1905 realiza su última exposición para entrar en un espiral de alucinaciones, comienza a destruir sus obras y su crisis se agudiza, todo esto por el sentimiento de paranoia que le provocaba la imagen de Rodin.

En 1913 luego de la muerte de su padre entra el manicomio Montdevergues, siendo rechazada por su familia y por el mismo Rodin, el mundo se olvido de ella incluso después de su recuperación, nunca logró salir y conoció la muerte en el recinto hospitalario.

El Abandono

Expresar la carne y el deseo desnudando el alma de las figuras dieron un sello a la escultura de Camille Claudel, su mayor reflejo puede apreciarse en “El Abandono”, que hace referencia a la leyenda hindú de Sakuntala.

El Beso

La similitud con “El Beso” de Rodin es innegable, en esta ultima los amantes parecen fundidos, entregados en el gesto mismo a su amor, mientras en “El Abandono” la distancia entre los cuerpos da la impresión de que los dos condenados no podrán reencontrarse ni en el mismo nirvana, para reflexionar.

Rodin se convirtió en un icono y escultor oficial de Francia, mientras que Claudel fue abandonada por la Academia Francesa al considerar su obra escandalosa.

We always try in this blog to talk about non anglophone series and movies and this was one of our main goals for this year. This time, we decide to make a little post about some favorite French period dramas.
In some cases, it was not easy to find videos and even pictures was a hard quest…

The story starts with Phillipe, le Bel and follows the French monarchy until the Hundred Years’ War. Memorable performances and a must for all those who love series set during the Middle Ages. A new version was aired a couple of years ago but it was not near as good as the original one.

After the war, a man returns home but his wife knows he is not the man she was married to… Sommersby was inspired by this movie but the original is much more complex and captivating. The performance of Gérard Depardieu alone is worth the trouble of finding a copy.

(No video found…)

Inspired on the book with the same name by Alexandre Dumas, this story is set during the 16th century in France. Marguerite de Valois (Isabelle Adjani), known as la Reine Margot, is about to marry the Huguenot King of Navarre, Henry of Bourbon. Six days after, the St. Bartholomew’s Massacre takes place…
Aesthetically captivating, the scene where Margot appears dressed in white and covered in her brother’s blood will remain one of the most powerful images of the movie.

Adapted from the theatre play by Edmond Rostand, this must be one of the most cherished historical movies in French cinema. We are not Gerard Depardieu fans but he is so wonderful as Cyrano that you easily get caught up in the story. The nose insults will remain one of our favorite scenes.

Wife of Louis XIV, Madame de Maintenon decided to open a school for impoverish aristocratic young women. From the beginning, things become much more complicated than expected…
Isabelle Hupert is sublime in this movie as the self rightous and austere Maintenon.

Directed by one of our favorite French directors, Gérard Corbiau, Le Roi Danse is a movie about Louis XIV and his passion for dance and music. A must for any history buff who enjoys a gripping story, perfect photography and the music of Jean-Baptiste Lully.

A biopic about Adèle Hugo (Isabelle Adjani), daughter of the famous novelist Victor Hugo, who is known for her tragic life. Her complicated relationship with her father and a non returned love dragged her slowly into madness…

Another biopic with Isabelle Adjani who seems to have a gift to portray tragic and gifted young women. Camille Claudel was a sculptor and the student (and lover) of Rodin. This movie shows us how she defied social rules while becoming an artist and later an outcast for being openly involved with a married man.

Adapted from the novel with the same name by Émile Zola, this movie is all about the life and struggling of the French miners in the North of France at the end of the 19th century. Again, Gérard Depardieu’s performance proves why he is considered one of the most talented actors of his generation.

See the movie trailer here.

The passionate love story between George Sand and Alfred Musset is brilliantly reenact by Juliette Binoche and Benoit Magimel. Another story with a powerful woman of the 19th century who led an original life without many regards for social conventions. A must for all Juliette Binoche’s fans!

During a cholera epidemic, the young Pauline de Théus starts her journey home to join her husband when she meets Angelo Pardi, a young revolutionary who is trying to escape the Austrian authorities…
This is a beautiful love story where Juliette Binoche shows us again how marvellous she is and even Olivier Martinez, who lacks a bit of natural, manages to held our attention and hope for a happy ending.

… – Què és aquesta ràbia cega que m’omple? Què és aquesta rauxa que em rosega i em fa buscar les formes en la matèria, enfebrada i dolguda? Quina causa provoca la passió més desfermada i el rebuig més incontrolat? Quina ombra es belluga rere meu, menyspreant la meva obra, la meva il.lusió i la meva vida?- s’exclamava desesperada en plena oscil.lació contradictòria en veure que el seu amor la negava, una i una altra vegada, sense deixar de buscar-la quan li calia i d’humiliar-la quan li convenia. No era res. Tancada en aquell taller, només era una ombra. I, llavors, va ser quan va agafar el martell i començà a clavar cops a les seves escultures.

Video del YouTube.

(photo from here)

“I am not feeling any better because I cannot stay in bed, having constant cause for walking. They say I leave at night by the window of my tower, hanging from a red umbrella with which I set fire to the forest.”

~Camille Claudel

Esta pintura está basada en un retrato de Camille Claudel, más que su parecido me interesaba poder plasmar su intranquilidad, su tristeza, su angustia, creo que en ese sentido está logrado, pueden ver más de mis pinturas aquí.

Mi versión de Camille Claudel

J’ai eu l’occasion de visiter cette semaine le Musée Rodin à Paris. La collection présentée est le reflet du travail de ce sculpteur d’exception. Ses œuvres sont présentées dans un lieu magnifique, l’hôtel Biron où Rodin a loué le rez de chaussée dés 1908.

Le visiteur pourra également admirer des sculptures de son élève, modèle et maitresse Camille Claudel.

Video, fotoworks and music

Detlev Foth

http://video.saatchigallery.com/artist/profile/28107/Detlev+Foth/Detlev.html

2008