clodjee
Abandonment
Camille Claudel, 1886, Bronze.
“This work, one of Camille Claudel’s most famous, would be executed in diverse materials and presented under various titles. It was originally inspired by the classical Hindu play The Recognition of Shakuntala, which recounts the reunion of two lovers separated by a curse. Initially called Shakuntala, the work was executed first in plaster around 1886. A marble version commissioned by Countess de Maigret in 1905 bears the title Velrtumnus and Pomona.”
“This bronze, cast by Eugène Blot, was presented at the Salon d’automne that same year, 1905, under the title Abandonment. The final split between Claudel and Rodin had occurred some time before, in 1898. The reconciliation for which the kneeling male figure so desperately pleads was thus eternalized, conjuring by turn an episode from Hindu mythology, a legend of ancient Greece, and Camille Claudel’s own love life.”
“Though Claudel was far less well known than Rodin, her meeting around 1900 with the art dealer and founder Eugène Blot (1857−1938) led to a more concerted promotion of her work. Commercially, however, results were disappointing. Eighteen copies of the large model of Abandonment were ultimately made. Blot would cede Claudel’s models to the Leblanc-Barbedienne foundry in 1937−1938.”
(From mmfarodin.com/w/labandon?_=_)
Abandonment
Camille Claudel, 1886, Bronze.
“This work, one of Camille Claudel’s most famous, would be executed in diverse materials and presented under various titles. It was originally inspired by the classical Hindu play The Recognition of Shakuntala, which recounts the reunion of two lovers separated by a curse. Initially called Shakuntala, the work was executed first in plaster around 1886. A marble version commissioned by Countess de Maigret in 1905 bears the title Velrtumnus and Pomona.”
“This bronze, cast by Eugène Blot, was presented at the Salon d’automne that same year, 1905, under the title Abandonment. The final split between Claudel and Rodin had occurred some time before, in 1898. The reconciliation for which the kneeling male figure so desperately pleads was thus eternalized, conjuring by turn an episode from Hindu mythology, a legend of ancient Greece, and Camille Claudel’s own love life.”
“Though Claudel was far less well known than Rodin, her meeting around 1900 with the art dealer and founder Eugène Blot (1857−1938) led to a more concerted promotion of her work. Commercially, however, results were disappointing. Eighteen copies of the large model of Abandonment were ultimately made. Blot would cede Claudel’s models to the Leblanc-Barbedienne foundry in 1937−1938.”
(From mmfarodin.com/w/labandon?_=_)