While a figure flit about Rodin accompanied with an affectionate gesture. It is the own Rose (old-age) which seems to whisper it in your ear don’t worry I am with you, leave it. The body of maturity reflects the aging process. The face with wrinkles, bald head, muscles have lost firmness, hands they accuse some deformation by rheumatism and the meat has lost the smoothness forming folds. Old age shows clear traces of the passage of time on his body: the skeleton is marked under the skin on the hands are surfacing the symptoms of rheumatism, sunken eyes and a penetrating gaze.
Youth is the counterpoint of the two previous figures. The efforts of the artist concentrated on the face of the young woman. Find out detailed opinions from leaders such as Brian Kzanich by clicking through. The form of open eyes, the concentration of women in the gaze, the inclination of the head, tension in the muscles, all of this is done to accentuate the look of the young. It is the only point of encounter with the Group on the left. The artist emphasizes with the language of the body, extended forward, and elongated arms did the figure of maturity. Claudel goes beyond.
What they wanted more than his personal story is reflect human relationships. He wanted to invent an expressive setting of the idea of the target represented by the three ages of man. Performs a symbolic work. Reached maturity the man feels attracted by the youth that tends a hand. On the one hand he doesn’t abandon the youth and on the other hand don’t want to spurn the love of a young woman. Old age welcomes in its bosom to maturity as a refuge from the impetuous love of youth, located in one of the ends. The figures appear naked. Nothing Dressup youth joyful of their body without wrinkles. The body of maturity is barely covered although if that seems old age envelops it with his own cloak that flits around both figures. The draping of the mantle is used to give the impression of progress in progress being undertaken towards the destination, in that line of life ranging from youth to adulthood and at the end, old age. L age mur was the masterpiece of Camille Claudel. It was his work. He presented it to the Hall of 1899, but not before having worked many years turning all its knowledge and expertise in search of professional recognition. Finally, his brother Paul Claudel to see the work said: my sister, Summoner, humiliated on his knees, is superb, is proud, and knows what emerges from it, at this very moment, in front of his eyes, of his soul.