Persée Et La Gorgone 1902

Curator: At first glance, I see dramatic tension, that struggle is almost palpable. Editor: Indeed! This marble carving from 1902 is entitled *Persée Et La Gorgone*, by Camille Claudel. We're seeing Perseus triumphant, yes, but at what cost? The entire sculpture feels as if it is caught between classical form and something rawer. Curator: I find Claudel’s material choices especially interesting. Marble lends the scene a certain gravity, linking it to the traditional history of classical sculpture. How interesting to juxtapose this traditional carving with such a complex mythological scene; how does that decision of materials impact its place within public collections? Editor: The history surrounding this work certainly adds layers. Commissioned by Countess Arthur de Maigret, it followed Claudel's tumultuous relationship with Rodin, and, as you point out, this complex history seeps into our viewing. We cannot dismiss her position as a woman working within this industry in that era; can the political struggles within the sector truly be divorced from our interpretation? Curator: I’m also struck by the figure of Medusa beneath Perseus, frozen, almost merging into the form and rock itself. The wings aren't the wings that allow soaring, or divine ascension. This marble form becomes suggestive of labor: of digging into the earth to make the raw marble useable, while also considering the implications of such a gendered mythos. Is Claudel seeking to undermine it, make it something all her own through that painstaking, tactile, practice of the art making? Editor: Considering this piece through a socio-political lens allows for consideration of institutional structures, power dynamics, and art history, which were often governed by specific groups or individuals at the time. While considering process and materiality can bring awareness to gender, it is truly understanding context that elevates the importance of this sculpture. It is quite impactful to view Claudel as both a master and someone facing considerable barriers. Curator: Ultimately, the complex treatment of a myth is impressive! From a materials focused view it brings consideration to the working conditions involved, the relationship between material extraction, consumption and society. Editor: And it speaks to the narratives museums like ours choose to highlight and why. Food for thought, indeed.