The Waltz bronze sculpture is a sculpture by the French artist Camille Claudel. If you like this sculpture please contact us immediately. We would provide you with more details.
Item No: BOK1-061
Size: Customized Size
Material: Casting Bronze
Insurance: Cover All the Risk
Package: Strong Wooden Case
Technique: Lost Wax Process
Superiority 1: Foundry Supplying Directly
Payment: T/T, Credit, Western Union, Money gram
The waltz bronze sculpture depicts a man and a woman, dancing the waltz, hugging each other tightly. This work was inspired by the love between Crowdel and her mentor and employer Auguste Rodin. The exposed skin of the upper body of this sculpture is smooth and textured, and the skirt underneath is mottled and rough. This contrast gives people a unique sense of beauty. This is a famous sculpture. From the sculpture, we could feel the great love story. This sculpture is very suitable for a romantic atmosphere and could be placed in art galleries, dance halls, etc.
In this, waltz, a man and a woman hugged intimately. The lady’s ruffled dress wrapped around them both, deepening the seductiveness of the subject. Camille’s bold creation, on the one hand, emphasizes the characteristics of expressionism between lovers. On the other hand, it is also a challenge to the traditional concept of advocating balance. This work is considered to be one of the most representative autobiographical works of Claudel. The pair of partners in the dance seems to be intoxicated by Chopin’s Waltz or Mazurka’s music. Like his brother, Paul wrote: “People could hear music from this dancer, and her partner is tempting her into a state of intoxicating rotation.”
The passionate young sculptor Camille Claudel became Rodin’s student in 1884 and later his mistress. Until their relationship ended in 1898, she and Rodin jointly explored a new creation of sculpture. And her life is often reduced to a stormy state. But she created a highly personal work, marked by a high degree of sensitivity.
Camille Claudel presented “Waltz” at the National Salon of Fine Arts in 1893. The two dancers rotate on a diagonal axis. The drapery that rolls from the hips of the female figure to the side enhances the sense of movement. The male dancer’s left foot is lifted in the same direction, and the low rectangular base puts the figure on the edge of imbalance. The strong muscles of men convey a passionate and sexy impression. And the sculpture was criticized by the authorities for its “violent reality” and was deemed unsuitable for display in public galleries.
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