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" "At first, I thought I had found in this second figure [a bronze Orpheus, Zadkine made shortly after his return from New York to Paris, in 1944] the perfect solution, but a surprise awaited me. One day my coal merchant delivered to me, here in my studio, some wood for heating; among these logs I found a rudimentary but completely mysterious wooden figure of a man. He seemed to be walking in great strides, his torso suggested by only two simple boards which, in their structure, were very much like an ancient lyre. I immediately began working on a new 'Orpheus', in which the [music-]instrument had truly become part of the man. [c. 1960]
Ossip Zadkine (July 4, 1890 – November 25, 1967) was a Russian-born sculptor-artist who lived mainly in France where he was at first working in a Cubist idiom from 1914 to 1925. Later Zadkine developed his characteristic style, strongly influenced by African and Greek art.
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How should one approach the person of van Gogh in order to be able to build a statue of him? How can one place him outside of himself, separate him from the tragic character of his life? How can one build a statue in the open air which simultaneously evokes the rare and the new person who was van Gogh, as also the enormity of the new aspect of the current and future art of painting?
Arms, hands [of the two van Gogh brothers, Vincent and Theo], like rifles, thrust out like non-stop ideas thoughts. Enormous thick veins like the ropes of a ship through which flow thoughts and inspirational excitement. They join the two brothers like nerve connections that pass from one body to the other, channeling the waves and opening up both in a magnetic ring of work and passion.
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I alternate my aims; at one time, I concentrate on poetry, on a more expressionist kind of sculpture; at other times on form – I mean on a kind of sculpture that concerns itself with formal relations rather than emotions or ideas. I suppose that this principle of alternating my aims leads to a kind of oscillation in the evolution of my own particular style as a sculptor, but I feel that it prevents me from repeating myself. [c. 1960]