Camille Claudel’s genius as a sculptor is irrefutable. Her skill surpassed that of her teacher, Auguste Rodin; however, due to her gender and the era in which she lived, she was denied the agency necessary to author her own story. Rodin obtained a city of Paris commission for Claudel and then abruptly blocked it. His action essentially locked her out of the only way to create large-scale and important sculpture that could have altered her trajectory.
Claudel’s family entrusted Tonya Turner Carroll and Michael Carroll with the stewardship of one of her most exceptional works: her autobiographical L’Implorante (grand modèle). This masterpiece, previously in the family’s exclusive possession, is now on display for the international art world to appreciate in the exhibition Camille Claudel at the Art Institute of Chicago. Turner Carroll advocated for the relocation of L’Implorante from France to the United States. This move aimed to amplify the impact of its pathos, asserting Claudel’s rightful place in the pantheon of art history.
Turner Carroll’s reputation for supporting female artists and artists previously marginalized is widely known. To shepherd Claudel’s most significant work available on the international market to the first major museum retrospective on Claudel is an art history dream come true for Turner Carroll.Camille Claudel continues to the J. Paul Getty Museum in 2024. Please contact us at firstname.lastname@example.org or email@example.com to speak about Camille Claudel or her works.