* Women were not permitted to attend the largest and most prestigious art school in France—École des Beaux-Arts—or the vast majority of the other art academies. They were considered incapable of producing the kind of ingenious works male artists composed, a myth perpetuated even by non-artist women themselves during this era. One of the biggest issues female sculptures faced was that they were not permitted to work with live nude models. Without nude models, one could not study musculature, which was prohibitive to accurately depicting a subject. This, in turn, meant women’s skills were not as developed as their male counterparts. In addition, women had to apply for special permits to wear pants in which to do their work. Imagine such a physical pursuit in skirts and petticoats and corsets!
Luckily, the stigma surrounding female artists began to change around 1870, albeit slowly and only in Paris, when a few small schools opened their doors as alternatives to the famous École des Beaux-Arts, which had become conservative in the eyes of many contemporary artists with their emphasis on classical studies. Yet even as women became able to study alongside men, their works suffered from the prejudice of critics. To make matters more difficult for Camille specifically, she depicted sensual images pulsing with liveliness, which made many who looked upon them uncomfortable. Such inappropriate topics created at the hand of a woman were scandalous.
* Follow the link to the Musée Rodin in Paris, where many of both artists’ works can be visited. Other permanent exhibits of Rodin’s pieces may be found in the United States including: Brooklyn Museum of Art, the Cantor Arts Center in California, and the North Carolina Museum of Art.
* Two excellent films chronicle Claudel’s and Rodin’s love affair. I recommend both: