Conceived in 1889 and cast in 1905 Claudel was fascinated with stone and soil as a child, and as a young woman Claudel studied at the, one of the few places open to female students. She studied with sculptor. (At the time, the barred women from enrolling to study.) In 1882, Claudel rented a workshop with other young women, mostly English, including. Alfred Boucher had become her mentor, and also provided inspiration and encouragement to the next generation of sculptors such as. Claudel was depicted by Boucher in Camille Claudel lisant, and later she sculpted a bust of her mentor. Before moving to Florence, and after having taught Claudel and other sculptors for over three years, Boucher asked to take over the instruction of his pupils. This is how Rodin and Claudel met, and their artistic association and their tumultuous and passionate relationship began.

In 1935, after being in the asylum for 20 years, Camille Claudel wrote to a friend, 'I live in a world that is so curious, so strange. Of the dream which was my life, this is the nightmare.' What Bruno Dumont and Juliette Binoche accomplish in 'Camille Claudel 1915' is to.

Auguste Rodin [ ] Around 1884, Claudel started working in Rodin's workshop. She became a source of inspiration for him, and acted as his model, confidante, and lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with. Knowledge of the affair agitated her family, especially her mother, who already detested her for not being a male child (who would have replaced her first-born male infant), and never agreed with Claudel's involvement in the arts. As a consequence, Claudel left the family house. In 1892, after an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until 1898.

Camille Claudel (left) and sculptor in their Paris studio in the mid-1880s Le Cornec and Pollock state that after the sculptors' physical relationship ended, because of gender-based censorship and the sexual element of Claudel's work she could not get the funding to get many of her daring ideas realized. 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. Claudel's reputation survived not because of her once notorious association with Rodin, but because of her work. The novelist and art critic described her as 'A revolt against nature: a woman genius.'

Her early work is similar to Rodin's in spirit, but shows an imagination and lyricism quite her own, particularly in the famous (1893). Louis Vauxcelles states that Claudel was the only sculptress on whose forehead shone the sign of genius like, 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, and this might have been one reason that led to their break up, with her becoming ultimately his rival. Claudel's 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. The Mature Age and other works [ ].

(between 1898 and 1913) After Rodin saw Claudel's for the first time, in 1899, he reacted with shock and anger. He suddenly and completely stopped his support for Claudel. According to Ayral-Clause, Rodin might have put pressure on the ministry of fine arts to cancel the funding for the bronze commission. (1900) was interpreted by her brother as a powerful allegory of her break with Rodin.

One of Claudel's figures, The Implorer, was produced as an edition of its own, and has been interpreted not as purely autobiographical but as an even more powerful representation of change and purpose in the human condition. Modeled for in 1898 and cast in 1905, Claudel didn't actually cast her own bronze for this work, but instead The Implorer was cast in Paris by Eugene Blot. La Vague ('The Wave') (1897) Ayral-Clause says that even though Rodin clearly signed some of her works, he was not treating her as different because of her gender; artists at this time generally signed their apprentices' work. Others also criticize Rodin for not giving her the acknowledgment or support she deserved. Walker argues that most historians believe Rodin did what he could to help her after their separation, and that her destruction of her own oeuvre was partly responsible for the longtime neglect the art world showed her. Walker also says that what truly defeated Camille, who was already recognized as a leading sculptor by many, were the sheer difficulties of the medium and the market: sculpting was an expensive art, and she did not receive many official commissions because her style was highly unusual for the contemporary conservative tastes. Despite this, Le Cornec and Pollock believe she changed the history of arts.

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