By purchasing this Sublicollage© from Agnès Lavida you will receive the largest size in subligraphic version. The best printing technique in the world.

Compassion and admiration for the famous artist Camille Claudel who was abandoned by her family and interned for the last thirty years of her life. Cut off from everyone and everything, in an asylum in the south of France, Camille died there alone and in despair. Agnès Lavida, seized by this tragic story, realizes here this composition entitled “blue lips” inspired by the work “La Valse”, an autobiographical sculpture by Camille Claudel.

Camille Claudel's waltz

Her lips turned blue, she lacks oxygen, her blood freezes, Camille is so cold. His breathing quickens ... Change in level of consciousness ... Never tell Rodin again ... Never say it with words again ... But sculpt him! So Camille sculpted La Valse… or the breaking point of her love and her mad passion for her master and lover Auguste Rodin.

Agnes Lavida

Capsizing bodies and hearts, La Valse, developed around 1890, is one of Camille Claudel's most famous works.

It represents a couple of dancers, lovingly and gracefully entwined in their passion, carried by their momentum in a harmonious whirlwind ... The dancer, suspended from her rider in a posture of abandonment full of sensuality, seems carried away in a distraught movement, to the point of imbalance ...

In a first version of this work imbued with a subtle but so blatant eroticism, Camille Claudel had represented her naked dancers. But their sensuality was deemed unacceptable by the inspector of the Academy of Fine Arts who, struck by the beauty of the bronze, specified in his report that it was necessary for the artist to cover the couple's nudity.

Camille performed, inspired by the spirit of Art Nouveau and the floating drapery of the choreographies of Loïe Füller, dancer of the Folies Bergères famous for having invented new forms of free dance, surrounded by long silk curtains that she made. spinning and illuminated by multicolored lighting.

In 1901, Camille therefore dressed her characters in a more modest drapery and thereby amplified the sensation of movement.

She added this light drape, a swirling wrap that gave her work a lot of grace and flexibility, symbolizing the rhythm, the melody and the intoxication of passion.

However, the artist wanted more than anything. It was one of his many dreams that never came true.

The Waltz carries within it the expression of a sensitivity, of an intense love between two beings lost in a world apart, where rhythm, music, are symbolized with force.