Women aren’t just Victims, II: The Tragi-Fabulous Destiny of Camille Claudel

claudel small abandonCamille Claudel, “L’Abandon,” large model, circa 1886. Bronze, brown patina, 24 3/8 x 22 7/8 x 9 5/8 inches. Signed “C. Claudel.” Last of a series of 18 cast from this model between 1905 and 1922. Estimated pre-sale by Artcurial at 600,000 – 800,000 Euros or $660 000 – 880 000; sold to a private international collector for 1,187,000 Euros or $1,412,530 including charges. Image courtesy and copyright Artcurial.

By Paul Ben-Itzak
Copyright 2017 Paul Ben-Itzak

“No, Joan, it’s not the priests who judged you. When those ferocious beasts gathered around you, their hearts full of rage and foaming at the mouth, those priests, those politicians, the Angel of Judgment who controls the scales, with a whistle he made the miter, the cowl, the frock tumble from their heads and arms.”

— Paul Claudel, “Joan of Arc at the Stake,” 1939 (Editions Gallimard)

“There’s always something absent which torments me.”

— Camille Claudel, Letter to Rodin, cited on a plaque affixed to the facade of 19, quai de Bourbon on the Ile St. Louis in Paris, where the sculptor lived and worked in a ground floor studio from 1899 until 1913, when she was committed to an asylum.

Dedicated to the memory and living legacy of Ruth Asawa, imprisoned by her government during World War II because of her Japanese heritage; Black Mountain graduate; sculptor; lithographer; teacher.

What do Hokusi, Hansi, Antoine Coysevox, Adolphe Cassandre, and Paul Claudel have in common — besides being men? You’ll find them all in the 1981 edition of the French encyclopedia “Le Petit Robert 2,” a bible of everything you need to know about French and world culture and history. You won’t find an entrée for Camille Claudel (1864-1943), assistant to, collaborator with, and lover of Auguste Rodin whose sculptures often exceed the master’s in their sophistication, intimacy, vulnerability, and heart-rending pathos. This was before the 1984 publication of a biography and Catalogue Raisonné by a descendant, Reine-Marie Paris, determined to resuscitate the reputation of the ancestor who spent 30 years in an asylum, possibly against her will, before dying of potentially hunger-related causes in 1943; several books published beginning in the 1980s, notably Anne Delbée’s 1982 best-seller “Une Femme, Camille Claudel”; two movies featuring Isabel Adjani and, more recently, Juliette Binoche as the sculptrice; a rage of exhibitions around the world; and the opening last spring of a museum dedicated to Claudel’s remaining oeuvre (estimated at between 80 and 99 works) in the remote Paris suburb of Nogent-sur-Seine, previously best known as the home of accordion legend Yvette Horner.

Camille Claudel’s ascendance — corresponding with the increased rarity of brother Paul’s plays on French stages — was capped by last week’s largest-ever sale at Artcurial Paris of works coming directly from Claudel’s descendants (via her sister Louise) for a combined total of nearly 3.6 million Euros or $4,283,048, more than three times the global pre-sale estimate, with a phenomenal 12 of the 17 lots by the artist on sale pre-empted by the State to go to French museums.

To receive the complete article, including more images, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions). Contact Paul at paulbenitzak@gmail.com.

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freespace small(Dance Insider Principal Sponsor Ad) The Star-Ledger’s Robert Johnson calls Donna Scro Samori  / Freepace Dance “astonishing and wonderfully gratifying.”  For info on classes and upcoming performances, click here. Above: Freespace Dance artistic director Donna Scro Samori and Omni Kitts, as captured by Lois Greenfield. Photo copyright Lois Greenfield. (To advertise your dance program, performance, audition, or product on the Dance Insider, please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com . Subscribe to the DI by Friday, December 8 for just $29.95/year, and receive a free one-month Home page ad.)

Women aren’t just victims, 1: Vanishing Acts — A play you won’t see in the U.S.

iranian playElham Korda and Setareh Eskandari in Afsaneh Mahian’s production of Mahin Sadri’s “Every day a little bit more.” Reza Ghaziani photo copyright Reza Ghaziani and courtesy Theatre de la Ville.

By Paul Ben-Itzak
Copyright 2015, 2017 Paul Ben-Itzak

On Monday, the United States Supeme Court upheld Donald Trump’s entree ban for visitors from several Muslim nations, including Iran  (with the exception, from that country, of those studying in the U.S.), effectively banishing artists from those nations as well.

PARIS — As I watched Afseneh Mahian’s production of Iranian playwright Mahin Sadri’s reality-based drama “Every day a little bit more,” a portrait of three women whose concerns mirror those of women everywhere, unfold Monday night at the Theatre de la Ville’s Abbesses theater in Montmartre, I could not stop thinking, Why aren’t we seeing this nuanced depiction of Iranian daily life in the United States? And the pay-off is infinite; now whenever I hear “Iranian nuclear threat” or skepticism about Iran’s motivations in Syria, behind the word “Iranian” I can see not just ayatollic machinations but a people with the exact same concerns as the rest of us.
Even as I was slipping into my usual critical aloofness Monday and ‘judging’ the work on dramatic criteria, I kept pinching myself in disbelief that I was actually watching three Iranian women and their Iranian theater company permitted into the country like any other troupe to depict universal human dilemmas, something I could never be watching if I were in the United States. You may think I’m exaggerating, but when afterwards I asked Elham Korda (in English; among the Iranian contingent at the after-party Monday, my mother tongue was more pre-dominant than Farsi or French) — who plays the widow of real-life martyr Major General Abbas Doran, who crashed his plane, fatally hit by Iraqi fire, into the Baghdad hotel where Saddam Hussein was planning a meeting of the non-aligned movement to send the message that Iraq was winning its war with Iran — if the play, also touring to Vienna and Brussels, would be going to the United States, she just smiled ironically.

To receive the complete article, first published on November 4, 2015, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com.

100 ans, Danielle Darrieux, et on a toujours soif de vous*

darrieux coverDanielle Darrieux in Max Ophuls’s “Madame de…,” playing at the Cinematheque Toulouse Thursday. Image courtesy Cinematheque Toulouse.

By Paul Ben-Itzak
Copyright 2017 Paul Ben-Itzak

I’ve spent the past month or so in the company of the most charming, droll, drop-dead gorgeous, glamorous *and* down to earth, alluring, funniest, romantic, and timeless of French actresses — the one who formed the mold for all the others who followed. Since Danielle Darrieux died at the age of 100 on October 17, I’ve been catching up on some of her films, from Henry Koster’s 1938 American comedy “The Rage of Paris,” in which the 21-year-old Darrieux plays a New York chorus girl who poses as a Parisian femme du monde to bag a millionaire through the 1958 “Drole de Dimanche” and “La Vie a Deux,” the latter a series of sketches about troubled marriages. I haven’t yet had time to re-screen Jacques Demy’s 1967 “Les Demoiselles de Rochefort,” the musical in which Darrieux, portraying the mother of Françoise Dorléac and her real-life sister Catherine Deneuve (whose model she may have been, although Darrieux is smarter), was the only cast member whose voice wasn’t dubbed, the actress also being such an accomplished chanteuse that not only did she sing, but her singing often set off the plot. (And when I say she sang, I don’t mean that she was another one of those French actors who thinks s/he can sing, a la Gerard Depardieu in his new album covering Barbara. I mean that if she wasn’t an actress she could have been a full-time singer; the sheer warmth and beauty of her voice even went against the high-pitched ((Frehel)) or morose ((Piaf)) tonalities that were the mode when she came up. Grover Dale, our colleague who played opposite Darrieux in Demy’s film, told the DI and AV, “It was apparent that Danielle was a wise and melodious woman. What a privilege it was… just being in the vicinity of her music.”)

Unfortunately, the only film I’ve screened which seems to be part of the  Cinematheque Toulouse’s tribute, running through December 13, is Max Ophuls’s 1953 “Madame de…,” a 19th century melodrama in which she cheats on Charles Boyer’s dignified general with Vittorio de Sica’s caddish baron, which screens in the French Midi city Thursday. What that film has in common with all the others — besides Darrieux’s blood-warming singing — is that she inevitably succeeds in re-conquering a man she’s betrayed, rejected, or otherwise disappointed: James Mason as a traitor she’s double-crossed, who can’t help smiling at how he’s been out-foxed at the end of the 1952 “Five Fingers”; Douglas Fairbanks Jr., who falls for her anyway after spending most of “The Rage of Paris” trying to unmask her before his enchanted best friend, the millionaire (and in which film, like any good comedian, Darrieux’s not afraid to show herself at unflattering angles, as when she gets stuck in a collapsed window, leaving only her pajama-covered butt projecting into the room); Bourvil as the estranged husband who finally relents after spending most of a “Drole de Dimanche” plotting to kill her (there’s a droll scene in which a very young Jean-Paul Belmondo, pursuing the couple in a roadster with Bourvil’s landlord to try to derail his plot, pulls out a trumpet to mimic a police siren to get the car ahead of them to pull over); and most of all a heartbreaking Boyer, who finally challenges de Sica’s baron to a duel not for cuckolding him, but for abandoning Darrieux and sending her into a mortal spiral. At one point Boyer’s general (whose own cheating, it should be pointed out, is one chain in a series of seemingly chance events sealing his wife’s doom), agonized by her growing distance from him and apparent determination to let go of life, tells her, more with regret than rancor, “I’m not the figure you’ve made me out to be.” As an actor, part of Darrieux’s gift was to make all her partners better than they were. (If Boyer was always a deft comedian, I’ve never seen him so poignant; he almost steals the show, his character’s fate seeming just as tragic as hers — and it’s clear that being a helpless witness to Darrieux’s demise sets this off.)

Darrieux Madame de ballroomDanielle Darrieux and Vittorio de Sica in Max Ophuls’s “Madame de…,” playing at the Cinematheque Toulouse Thursday. Image courtesy Cinematheque Toulouse.

For her part, Darrieux was as brilliant a comedian as she was a heartbreaking tragedian. If her desperate, eyes-shut refrain “Je ne vous aime pas, je ne vous aime pas” while pounding her head against the door of her mansion as de Sica parts on the other side, meant to convey the opposite of “I don’t love you,” is devastating, her impeccable rhythm in a fracas with her lover in “La vie a deux” is also an example of verbal repartee and physical timing that should be required viewing in every acting class.

In the one film I haven’t yet had the courage to watch in its entirety, “Crime doesn’t pay,” yet another of the formulaic ‘sketch’ films that were popular in Europe in the early 1960s, Darrieux, still ravishing at 45 and having derouted yet another male who would have had her hide, ends the film with a semi-deliriius, flirtatious, luxuriant “J’ai soif” from her bed. 100 ans, Danielle Darrieux, et on a toujours soif de vous.*

PS: Darrieux isn’t the only grande dame of French cinema we’ve lost this past year. Jeanne Moreau, Michelle Morgan (at the age of 97), Emmanuelle Riva and, most recently, Anne Wiazemsky, one of Jean-Luc Godard’s muses, 70, have also disappeared. (To hear an audio broadcast, in French, of Wiazemsky’s autobiographical story “Mon Enfant de Berlin,”  click here.) All these deuils are enough to make one regret that the State no longer throws national funerals for departed giants of the theater, like the mass procession for Sarah Bernhardt. (Whose name pops up in “Madame de …” when Boyer, having confirmed Darrieux’s infidelity but refusing to discuss it, proclaims, “Tonight we shall speak only of Sarah Bernhardt.”)

*100 years, Danielle Darrieux, and we still haven’t got enough of you.

 

If you have a lemon tree, make art: Foujita in Montparnasse

foujita lemon pickers small

As an illustrator, Kees Van Dongen can’t be beat. (Check his ethereal covers of Proust’s gossamer ladies for Folio’s editions of “Remembrance of Things Past.”) But I just can’t see what makes “The Tall Doe in Black Stockings,” a 40 x 32 inch oil of a thin naked flapper painted in 1922-23, worth between 1.2 and 1.6 million Euros, Artcurial’s pre-sale estimate for tonight’s Impressionist and Modern auction in Paris. So if you’re looking for a representative of the Montparnasse epoch of the School of Paris — in all its international splendor — we propose instead Léonard Tsuguharu Foujita (1886 – 1968), whose 1918 “The Lemon Pickers,” an 18 1/4 x 12 inch watercolor, ink, and gold and silver leaf on paper, is estimated at a paltry 100,000 – 150,000 Euros. Not just for its intrinsic value, but because Foujita, born in Japan and artistically flowered in France, in the hybrid nature of his oeuvre defies the false debate current among some French pundits between “multi-culturalism” and “national identity,” demonstrating that far from being antithetical, they have forged the synthesis that is the cosmopolitan French and Parisian culture. Signed in French and in Japanese (of course) at lower right. Image courtesy and copyright Artcurial.

She wore lemon: Concocting the feminine image with D. Chase Angier

By Paul Ben-Itzak
Copyright 2000, 2017 Paul Ben-Itzak

BROOKLYN — I know, I know, the borough of Brooklyn is part of New York City, so it’s as ridiculous to make that the dateline for this Flash as it would be to make it “MANHATTAN.” But living in Manhattan — GreenWich Village, no less, to para-tone Bob Dylan in “Talkin’ New York” — I’ve tried to ignore the increasing number of dance flyers with a Brooklyn venue that have flooded the DI inbox. That’s not from snobbery, it’s from fear of getting lostery. As anyone who’s ever accompanied me to an event where a subway is involved will tell you, when I emerge from the station I can’t even figure out which way is uptown and which way down. So the prospect of trying to find my way to a hidden theater in a strange town has always been daunting. Only a friend or an artist I know and REALLY want to see will get me there, and even then only if there’s someone to hold my hand along the way. But when I heard Chase Dance Theater was in the house with “an Evening of Beauty and Madness,” including a reprisal of D. Chase Angier’s mostly-new-to-me riff on female image consciousness “Lemons for Loveliness,” I was tempted. And when I heard the house was a spanking new space, Williamsburg Art NeXus (or WAX), it seemed my duty, as we’ve been ranting here about the shrinking space for dance in this town, to check it out. And finally, when I was told WAX is right on the L line — folks, this is a ten-minute ride from downtown Manhattan, half the time it takes you to get uptown, and you’re in the company of a way cooler Boho crowd — this young man had no excuse not to go east.

To receive the complete article, first published on October 9, 2000, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions). Contact Paul at paulbenitzak@gmail.com.

La nude en rose armchair

gromaire arm chair nude smallAmong the works featured in tonight’s Impressionist & Modern auction at Artcurial Paris is, above, “Nude in pink arm chair,” a 21 5/8 x 18 1/8 oil on canvas painted in 1931 by Marcel Gromaire (1892 – 1971) — a far cry from Gromaire’s early depictions of life in the trenches of World War 1, first published from 1916 through 1918 in the revue Le Crapouillot. (Gromaire also wrote the first treatise on the manifestation of painterly values in the cinema, in 1925.) As intimate as the tableau may seem at first glance, the perspective of the outside world is frequently present even in Gromaire’s most intimate paintings (here, in the cobalt twilight projected on a rear window). Signed and dated at upper center; signed again, dated, and titled on the back. Artcurial pre-sale estimate: 60,000 – 80,000 Euros.  Image courtesy and copyright Artcurial.