Camille Claudel’s handwriting analysis

Handwriting sample: Camille Claudel

If questioning graphology in order to get at least a vague clue about what could have happened and to explain such a catastrophe at a personality level, it has to be admitted that hereby no direct answer can be found, because no specific mental disorder is shown in Camille Claudel’s handwriting.
On the contrary, her handwriting exhibits a triple width balancing, i.e. the fundamentals of the qualities informing self-control due to ponderation, and also suggesting qualities well supported in depth and power of intelligence. Her intellective qualities are also enhanced by the presence of the signs A Angles A (reactivity), Stable on the Line (steadiness), Connected (continuity), as they characterize the ability to activate and concretize her tendencies.
Methodically Uneven is present, though with a score not very high, but together with the sign Fluid; thus suggesting the presence of some original concepts which later tend to repeat. She becomes fecund in her work, though not very original.
Furthermore, her personality tends to assimilation thanks to the presence of the sign Forward Slant, that discloses also the intensity of her feeling inclined to become strongly affectionate and in want of an exclusive intimate relationship. Here we find quite contradictory indexes between her global graphical self-containing and the graphical forward slant; from a point of view, her need of essentiality, of consuming inside herself the impressions received, from another point of view a push to an affectivity based on abandoning herself to the other. Her feeling, deep in its substance (triple width), self-assured about the strength of its position (a little hint of Daring), prone to reactivity because of its sensitivity (A Angles), ill-tolerated the role she had chosen: young mistress of a married man.
Ponderation is strong, as well as the reliability of her personality and affection, and actually this makes it impossible to her to accept a sharing in the love field. If she did, she forced on herself an attitude that did not belong to her. Moreover, hereby, there is a gender difference to be studied in depth. Whereas I think the double relationship wife-mistress is sustained at a lesser cost by men, about women the direct experience originates more sorrow, because of the different orientation of masculine and feminine feeling (the emphasis on the polarity “objectivation/personalization” of a sexual partner).
Camille Claudel is aware of her gifts, her cleverness, she is a highly talented woman, with a hint of hardiness that she herself may have overestimated, because the basic structure of her personality is based on ponderation (Spacing between Words), though not always clearminded (uneven widths, some Flourishes of Confusion). The sign Forward Slant is the only constituent that could have led her astride, not because the sign were exaggerated, but because it reinforced a temper already very determined: about love, I want this and I shall get it. Apparently, she keeps the upper hand with Rodin, she is pretty, young, intelligent, indispensable to his work because she is so clever, but nonetheless he does not leave his wife for her, thus Camille has to realize – in her feeling – she lost, as he needed both. And admitting this is not easy at all for the sign Forward Slant, as it has to fight its primary tendency, that is to yield her feeling of affection to receive affection exclusively.
However, we recognize in this picture something prevailing on the personality characteristics; typically feminine behavior and reaction patterns take over: the fall in a black abyss of depressive self-destruction. Depression becomes a privileged expression pattern for feminine discomfort affecting both traditional and, as described above, the desire and courage of being a different woman.