Beginning in 1903, she exhibited her works at the Salon des Artistes français or at the Salon d'Automne. It would be a mistake to assume that Claudel's reputation has survived simply because of her notorious association with Rodin. She was in fact a brilliant sculptor in her own right, and the famous art critic Octave Mirbeau wrote she was "A revolt against nature: a woman genius". Her early work is similar to Rodin's in spirit, but shows an imagination and lyricism quite her own, particularly in the famous Bronze Waltz (1893). The Age of Maturity (1900) whilst interpreted by her brother as a powerful allegory of her break with Rodin, with one figure The Implorer that was produced as an edition of its own, has also been interpreted in a less purely autobiographical mode as an even more powerful representation of change and purpose in the human condition. The different scales, the different modes of plasticity, and gender-representation, of the three figures which make up this important group, enable a more universal thematic and metaphoric stylistics related to the ages of existence, childhood, maturity, and the perspective of the transcendent (v. Angela Ryan, "Camille Claudel: the Artist as Heroinic Rhetorician." Irish Women's Studies Review vol 8: Making a Difference: Women and the Creative Arts. (December 2002): 13-28). Her onyx and bronze small-scale Wave (1897) was a conscious break in style with her Rodin period, with a decorative quality quite different from the "heroic" feeling of her earlier work. In the early years of the 20th Century, Claudel had patrons, dealers, and commercial success - she had no need to bask in the reflected light of another. She is highly considered by most art critics, and had a film on her life which is quite uncommon for most artists. http://www.imdb.com/title/tt0094828/