| The object of this dissertation is to analyse the production and specific qualities of images in Paul Claudel's earlier works with a special emphasis on Connaissance de L'Est which marks, according to me, a turning point in Paul Claudel's life and professional career. My argument is that these images reveal an understanding of the work and craft of the plastic arts, a visual mastery used by painter and sculptor alike which he acquired from observing his sister Camille Claudel, the sculptor, at her work.;We contrast Claudel's reluctance to admit any long lasting literary influences, to the total silence he keeps on the influence his sister had on educating his sensitivity and his eye to the creation of a work of art. When she is acknowledged as part of the profound influences of his youth, those on which he willingly elaborates, it is as an overbearing, dictatorial power. If Claudel gives credit to the artistry of his sister on two public occasions, we will also show the relentless, lifelong fight to compete with her fame as an artist. Much has been said about Camille's stormy and tragic life, and the repercussions in her brother's life; far less has been done to show the legitimate influence she had on him as an artist. It is our goal to show the profound marks she left, as an artistic educator, on her brother.;My analysis of the harsh imagery, in the early plays, reveals the troubled inner world largely centered on the poisoned male/female relationship, and the place of the sister in this world. In contrast, Connaissance de L'Est, offers images in the descriptions of Chinese landscapes and people that speak of a far more serene and joyful world. Claudel understands the relationships between form and color. His selection of essential lines, the framing of sights and the translation of these visual evaluations to the texture of his poetic prose are signs of his educated eye in the field of fine arts, and bear witness to Camille's powerful impact on Claudel's work. |
