【內容提要】
克洛代爾是羅丹的學生和情人，是保爾·克洛代爾的姐姐。她因與羅丹決裂而陷入瘋狂，在精神病療養院度過殘生。據專家的考訂，有一些署名羅丹的雕塑 作品其實都出自她之手。長期以來，卡米耶·克洛代爾因其與羅丹的愛情悲劇而為人所知，她的藝術纔華和成就，即便在法國也是到了上個世紀80年代開始纔漸漸 為人所注意。
本書收集了迄今所發現的卡米耶·克洛代爾的全部書信，是這位女藝術家留存人世的唯一手稿。
本書收集了迄今發現的所有卡米耶·克洛代爾的書信。每一封信均經過專家的分析和研究，得到嚴格的編排和整理。這些珍貴的書信，堪稱為卡米耶·克洛代爾研究的最重要亦是最根本的文獻。
【目錄】
中譯本前言
法文本前言：生命之路
書信
生平
主要參考文獻
後記：卡米耶·克洛代爾的悲劇
圖像
簡介集 (英文)
http://www.answers.com/topic/camille-claudel
Wikipedia article "Camille Claudel".部份:
Creative period
Fascinated with stone and soil as a child, as a young woman she studied at the Académie Colarossi with sculptor Alfred Boucher. (At the time, the École des Beaux-Arts barred women from enrolling to study.) In 1882, Claudel rented a workshop with other young women, mostly English, including Jessie Lipscomb. In 1883, she met Auguste Rodin, who taught sculpture to Claudel and her friends.
Around 1884, she started working in Rodin's workshop. Claudel became his source of inspiration, his model, his confidante and lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with Rose Beuret. Although pregnant, Claudel never had children with Rodin; she lost the child in an accident[1], which sent her into a deep depression. Knowledge of the affair agitated her family, especially her mother, who never completely agreed with Claudel's involvement in the arts. As a consequence, she left the family house. In 1892, perhaps after an unwanted abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw one another regularly until 1898.
Beginning in 1903, she exhibited her works at the Salon des Artistes français or at the Salon d'Automne. It would be a mistake to assume that Claudel's reputation has survived simply because of her notorious association with Rodin. She was in fact a brilliant sculptor in her own right, and the famous art critic Octave Mirbeau wrote she was "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 Bronze Waltz (1893). The Age of Maturity (1900) has been interpreted by his brother as a powerful allegory of her break with Rodin, with one figure The Implorer that was produced as an edition of its own. Her onyx and bronze small-scale Wave (1897) was a conscious break in style with her Rodin period, with a decorative quality quite different from the "heroic" feeling of her earlier work. In the early years of the 20th Century, Claudel had patrons, dealers, and commercial success - she had no need to bask in the reflected light of another.
钟文音《巴黎情人：寻访杜拉斯、卡米耶、西蒙·波伏瓦》
寻找卡米耶(1864～1943年)／148
卡米耶的故居与活动场域／148
巴黎圣路易岛(Saint—Louis)塞纳河畔
——波旁河滨路19号(Qiai de Bourbon)1 898～1913年／148
艾芙哈村(Ville—Evrard)精神病院 1913年5月～1914年8月／165
亚维依附近的蒙德费格(Montfavet)精神病院
1914年8月～1945年10月9日／172
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