The Waltz is undoubtedly Camille Claudel’s most famous work. Conceived between 1889 and 1893, it coincides with a period of intense artistic production and her passionate relationship with Auguste Rodin.

In 1892, Claudel applied for a state commission in marble, but the Inspector of Fine Arts rejected the first version because the dancers were entirely nude. To meet his requirements, the artist modified the work by adding drapery; however, the marble commission never came to fruition.

She then revisited the group to create a third version with less drapery and smaller dimensions, which was produced in several materials. It is this third version that is on display at the Camille Claudel Museum. Among these editions, only one known copy in flambé stoneware exists today.

In the 19th century, the waltz was the quintessential couple's dance, and balls were becoming popular across all levels of society. Yet Claudel was not interested in depicting a mere anecdote or a passing fashion. The dancers' partial nudity removes them from any specific timeframe, giving them a universal quality. In this sense, the artist aligns herself with the Symbolist movement. The swirling of the dancers and the couple's embrace convey the sensuality of the dance. The diagonal line of their bodies emphasizes a sense of imbalance, while the skirt amplifies the figures' spiral motion. In this way, the next step is already suggested: the artist captures the speed of the waltz, drawing the couple into a whirlwind that seems never-ending. With The Waltz, Camille Claudel gained the recognition of many of her contemporaries; as Léon Daudet wrote: "Only a great and broad mind could have conceived this materialization of the invisible."