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Camille Claudel, most famous for being Rodin’s understudy, lover and muse was also an exceptionally talented sculptor. Claudel was extremely influential on Rodin and he deeply admired her ability to capture passion and movement. Naturally their tempestuous relationship was fraught with conflict, and eventually Camille abandoned Rodin in frustration. Rodin dominated the sculpting world in France at the time, and women were rarely acknowledged in the art community so Camille was creatively overshadowed by Rodin throughout her career, and even accused him of taking away her commissions. Rodin emphatically denied doing this – but as we know, the history of the time was written by men, so it is difficult to know if she was justified in her resentment. What we do know, is that at the age of 48 she was institutionalised and remained in an asylum until she died 30 years later. From the moment Camille entered the asylum she ceased her creative pursuits and was transformed to creative stone. Prior to her confinement, she sculpted a spectacular piece called ‘Perseus and the Gorgon’, where she used her own face as that of Medusa – an autobiographical work.

In my twist, I have made Rodin, the colourful gorgon, who’s kiss has transformed the hapless Camille to stone. This piece is a combination of aluminium, coloured and polished concrete, mirror and enamel brushwork.

The Gorgon’s Muse: Claudel and Rodin

Ilia chidzey

AUD$2,950
Size: 72w x 72h x 3d cms
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Aluminium, coloured and polished concrete, mirror and enamel brushwork

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Additional Information

Camille Claudel, most famous for being Rodin’s understudy, lover and muse was also an exceptionally talented sculptor. Claudel was extremely influential on Rodin and he deeply admired her ability to capture passion and movement. Naturally their tempestuous relationship was fraught with conflict, and eventually Camille abandoned Rodin in frustration. Rodin dominated the sculpting world in France at the time, and women were rarely acknowledged in the art community so Camille was creatively overshadowed by Rodin throughout her career, and even accused him of taking away her commissions. Rodin emphatically denied doing this – but as we know, the history of the time was written by men, so it is difficult to know if she was justified in her resentment. What we do know, is that at the age of 48 she was institutionalised and remained in an asylum until she died 30 years later. From the moment Camille entered the asylum she ceased her creative pursuits and was transformed to creative stone. Prior to her confinement, she sculpted a spectacular piece called ‘Perseus and the Gorgon’, where she used her own face as that of Medusa – an autobiographical work.

In my twist, I have made Rodin, the colourful gorgon, who’s kiss has transformed the hapless Camille to stone. This piece is a combination of aluminium, coloured and polished concrete, mirror and enamel brushwork.

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