The sculpture can be viewed as an allegory of aging, the man leaving behind youth and progressing towards maturity and eventual death. Rodin, however, refused to marry her, reluctant to end his long-term relationship with Rose Beuret, mother of his son, and later his wife. The sculptures can also be interpreted as reflecting Claudel’s abandonment by Auguste Rodin, who, after a lover’s relationship with the younger Camille Claudel, returned to his older partner. The Age of Maturity 1898 Bronze, 114 x 163 x 72 cm Musée d'Orsay, Paris: This sculpture shows a man between two women, one younger and one older. – Camille Claudel, Photo Credit: Jean-Pierre Dalbéra from Paris, France [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)]; 2) Thibsweb [Public domain], Sponsor a Masterpiece with YOUR NAME CHOICE for $5. Thus, Rodin was shocked and angered when he saw the sculpture for the first time in 1899. It may be seen as an image of destiny, as found in several other works by the artist during this period. “Don’t fear anything for your letters, they are burnt one by one, and I hope you do the same with mine.” The three identical small female figures all bend their knees at the sight of the huge wave of onyx marble about to break over their heads. Born: 1864, Fère-en-Tardenois, Aisne, France, Died: 1943 (aged 78), Montdevergues, Vaucluse, France. The sculptress envisaged including a tree leaning at an angle in the group to further underline her central idea of destiny. He cut off support for Claudel and may have influenced the Ministry of Fine Arts to cancel their commission. One interpretation of Claudel’s masterpiece L’Âge mûr (The Age of Maturity), begun in 1893, is that it represents a male figure being drawn away by a personification of old age, while simultaneously being held back by a figure of youth. Shown in its plaster version at the Salon in 1897,The Wave, like The Gossips, was made almost entirely by Camille Claudel herself. This complex arrangement and a later abortion caused a separation between Claudel and Rodin in 1892, but they remained in contact until 1898. She was the co-worker and lover of sculptor Auguste Rodin. Her masterpiece, The Age of Maturity, was exhibited in plaster in 1899, before being cast in bronze in 1902. In this sculpture, there are many interpretationas as to its meaning. In 1892, after an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until 1898. After Rodin saw Claudel’s The Mature Age for the first time, in 1899, he wholly and suddenly stopped his support for Claudel. She acted as his model, his confidante, and his lover. She met Auguste Rodin in 1883 and became his mistress. Based on these letters, this sculpture was personal and autobiographical work. We believe art has the power to transform lives and to build understanding across cultures. A plaster version of the sculpture was exhibited in 1899, and then cast in bronze privately in 1902. Henri Rousseau's, Hector Guimard, Cité entrance, Métropolitain, Paris, Léon Bakst, "Costume design for the ballet The Firebird", An Introduction to The Peredvizhniki (The Wanderers), https://smarthistory.org/claudel-the-age-of-maturity/. . A young woman is on her knees at the back of the sculpture, trying to hold on to a man who is in the arms of an older woman. Jul 30, 2020 - The first version of The Age of Maturity, only a plaster of which is in our possession, dates from 1894-95 according to a letter sent by Claudel to her brother Paul, in December 1893, where she calls it her “three-figure group”. A young woman is kneeling who has just released the hand of the older standing man who he is being drawn away by the embrace of an older woman with a swirling drape. The younger one stays behind, her hands stretched out toward him beseechingly. L'Age mûr [Maturity] After the break between Camille Claudel and Rodin, the latter tried to help Claudel indirectly and obtained a state commission for her from the Director of Fine Arts. The first version of The Age of Maturity, only a plaster of which is in our possession, dates from 1894-95 according to a letter sent by Claudel to her brother Paul, in December 1893, where she calls it her “three-figure group”. A second private bronze casting was made in 1913, and it is believed that the plaster version was destroyed at that time. Claudel started working in Rodin’s workshop around 1884 and became a source of inspiration for him. The sculpture can be viewed as an allegory of aging, the man leaving behind youth and progressing towards maturity and eventual death. The Mature Age (in French, "L'Âge mûr"), also named Destiny, The Path of Life or Fatality (1894–1900) is a sculpture by French artist Camille Claudel.The work was commissioned by the French government in 1895, but the commission was cancelled in 1899 before a bronze was cast.
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