After Rodin saw Claudel's The Mature Age for the first time, in 1899, he reacted with shock and anger.
He suddenly and completely stopped his support for Claudel.
According to Ayral-Clause, Rodin might have put pressure on the ministry of fine arts to cancel the funding for the bronze commission.

The Mature Age (1900) is usually interpreted as an allegory of the three stages of life: the man who represents Maturity is drawn into the hands of the old woman who represents Old Age and Death, while the young woman who represents Youth tries to save him.
Her brother interpreted it as an allegory of her break with Rodin.
Angelo Caranfa comments that "The life that was, is, and will be in Maturity contains within its movement both the relentless movement of Clotho and the rhythmic, graceful, whirling movement of Fortune, generating a single and sustaining movement or image out of the differences within" .
According to Caranfa, Clotho (1893) and Fortune (1905) represent the two ideas of life: life in Clotho is portrayed as closed, hopeless existence and "consummated in an unending death"; life in Fortune is celebrated as the madness of eternal present with ups and downs, its "rapture or total harmony" (Fortune itself is a variation of the dancing woman in The Waltz).

One of Claudel's figures, The Implorer, was produced as an edition of its own and has been interpreted not as purely autobiographical but as an even more powerful representation of change and purpose in the human condition.
Modelled for in 1898 and cast in 1905, Claudel didn't actually cast her own bronze for this work, but instead The Implorer was cast in Paris by Eugene Blot.

In 1902 Claudel completed a large sculpture of Perseus and the Gorgon.
Beginning in 1903, she exhibited her works at the Salon des Artistes français or at the Salon d'Automne.

Sakuntala, 1888, is described by Angelo Caranfa as expressing Claudel's desire to reach the sacred, the fruit of the lifelong search of her artistic identity, free from Rodin's constraints.
Caranfa suggests that Claudel's impressions of Rodin's deceptions and exploitation of her, as someone who could not become obedient as he wanted her to be and who was expected to conform to society's expectation of what women should be, were not false.
Thus Sakuntala could be called a clear expression of her solitary existence and her inner search, her journey within.

Ayral-Clause says that even though Rodin clearly  signed some of her works, he was not treating her as different because of her gender; artists at this time generally signed their apprentices' work.
Others also criticise Rodin for not giving her the acknowledgment or support she deserved.
Walker argues that most historians believe Rodin did what he could to help her after their separation, and that her destruction of her own oeuvre was partly responsible for the long-time neglect the art world showed her.
Walker also says that what truly defeated Camille, who was already recognised as a leading sculptor by many, were the sheer difficulties of the medium and the market: sculpting was an expensive art, and she did not receive many official commissions because her style was highly unusual for the contemporary conservative tastes.
Despite this, Le Cornec and Pollock believe she changed the history of arts.

Other authors write that it is still unclear how much Rodin influenced Claudel – and vice versa, how much credit has been taken away from her, or how much he was responsible for her woes.
Most modern authors agree that she was an outstanding genius who, starting with wealth, beauty, iron will and a brilliant future even before meeting Rodin, was never rewarded and died in loneliness, poverty, and obscurity.
Others like Eisen, Matthews and Flemming suggest it was not Rodin, but her brother Paul who was jealous of her genius, and that he conspired with her mother, who never forgave her for her supposed immorality, to later ruin her and keep her confined to a mental hospital.
Kavaler-Adler notes that her younger sister Louise, who desired Camille's inheritance and was also j
After Rodin saw Claudel's The Mature Age for the first time, in 1899, he reacted with shock and anger. He suddenly and completely stopped his support for Claudel. According to Ayral-Clause, Rodin might have put pressure on the ministry of fine arts to cancel the funding for the bronze commission.
The Mature Age (1900) is usually interpreted as an allegory of the three stages of life: the man who represents Maturity is drawn into the hands of the old woman who represents Old Age and Death, while the young woman who represents Youth tries to save him. Her brother interpreted it as an allegory of her break with Rodin. Angelo Caranfa comments that "The life that was, is, and will be in Maturity contains within its movement both the relentless movement of Clotho and the rhythmic, graceful, whirling movement of Fortune, generating a single and sustaining movement or image out of the differences within" . According to Caranfa, Clotho (1893) and Fortune (1905) represent the two ideas of life: life in Clotho is portrayed as closed, hopeless existence and "consummated in an unending death"; life in Fortune is celebrated as the madness of eternal present with ups and downs, its "rapture or total harmony" (Fortune itself is a variation of the dancing woman in The Waltz).
One of Claudel's figures, The Implorer, was produced as an edition of its own and has been interpreted not as purely autobiographical but as an even more powerful representation of change and purpose in the human condition. Modelled for in 1898 and cast in 1905, Claudel didn't actually cast her own bronze for this work, but instead The Implorer was cast in Paris by Eugene Blot.
In 1902 Claudel completed a large sculpture of Perseus and the Gorgon. Beginning in 1903, she exhibited her works at the Salon des Artistes français or at the Salon d'Automne.
Sakuntala, 1888, is described by Angelo Caranfa as expressing Claudel's desire to reach the sacred, the fruit of the lifelong search of her artistic identity, free from Rodin's constraints. Caranfa suggests that Claudel's impressions of Rodin's deceptions and exploitation of her, as someone who could not become obedient as he wanted her to be and who was expected to conform to society's expectation of what women should be, were not false. Thus Sakuntala could be called a clear expression of her solitary existence and her inner search, her journey within.
Ayral-Clause says that even though Rodin clearly  signed some of her works, he was not treating her as different because of her gender; artists at this time generally signed their apprentices' work. Others also criticise Rodin for not giving her the acknowledgment or support she deserved. Walker argues that most historians believe Rodin did what he could to help her after their separation, and that her destruction of her own oeuvre was partly responsible for the long-time neglect the art world showed her. Walker also says that what truly defeated Camille, who was already recognised as a leading sculptor by many, were the sheer difficulties of the medium and the market: sculpting was an expensive art, and she did not receive many official commissions because her style was highly unusual for the contemporary conservative tastes. Despite this, Le Cornec and Pollock believe she changed the history of arts.
Other authors write that it is still unclear how much Rodin influenced Claudel – and vice versa, how much credit has been taken away from her, or how much he was responsible for her woes. Most modern authors agree that she was an outstanding genius who, starting with wealth, beauty, iron will and a brilliant future even before meeting Rodin, was never rewarded and died in loneliness, poverty, and obscurity. Others like Eisen, Matthews and Flemming suggest it was not Rodin, but her brother Paul who was jealous of her genius, and that he conspired with her mother, who never forgave her for her supposed immorality, to later ruin her and keep her confined to a mental hospital. Kavaler-Adler notes that her younger sister Louise, who desired Camille's inheritance and was also j
Camille Claudel