Camille Claudel is Rodin's lover. With Rodin, Camille became the source of Rodin's inspiration. But Camille has no creative state. It was only after leaving Rodin that she started her own creation.
I don't understand, is it true that women's pursuit of life and love are confrontational?
I can only say that it is because of Camille's paranoid temperament. Because of her dispositional paranoia, it is difficult for her to approach the greatness of pursuing a pure state as a life. To be great means to truly superimpose oneself from oneself, to obey a certain idea, rather than being involved in temperament. Of course, paranoia of temperament can make a person achieve something, but it cannot last. When Camille's father talked about how she was obsessed with clay when she was a child, and was enthusiastic about burning the molded clay to harden the state of sleepless nights and sleeps, Camille's father said this when he saw Camille's talent. But Rodin hit the nail on the head: This is temperament.
Dispositional paranoia is manifested in that one must overdo it at any point. In order to get rid of the shadow of Rodin’s creative conception, it strengthened the shadow. He regarded Rodin as a devil-like person: In order to "fight for" his only position in Rodin's love, confront himself with Madame Rodin, and be better than her in every point. Excessive performance. Mrs. Rodin showed vulgarity when she dines (the spoon makes the plate crackle, and the thing that is difficult to hold in the spoon is delivered directly to her mouth), Camille is more vulgar, she is like a prostitute in her solo exhibition Break in.
Because of her paranoid temperament, the personal creations she started are actually resentful and embracing. Resentment and resentment towards Rodin. That is to say, the fact that the individual did not enter the creative state when he was with Rodin was attributed to Rodin's shadow at work. That is, it is more to imagine the existence of a huge Rodin shadow, and then fight with it. Complete your own work in this confrontation. Such works are full of hatred. Can't touch the beauty of art, the language of God.
So, I think, it is not a woman's pursuit that confronts love, but a woman's paranoid disposition ruined love and the opportunity to approach greatness, at least for Camille.
Witch Tower, Autumn 2003
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