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 rop… - Ossip Zadkine

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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.

English
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About Ossip Zadkine

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.

Also Known As

Alternative Names: Osip Zadkine Osip Zadkin Oshippu Zakkin Osip Cadkin Joë Zadkine Osip Tsadkin
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Additional quotes by Ossip Zadkine

Fortunately, a sculptor's style and aim are, to a great extent, dictated to him by his materials. To make a sculpture seem at all moving or inspiring, an artist must, of course, be gifted with a certain personality that speaks movingly through the subject and materials of his work. But he must select appropriate materials, and use them appropriately, too.. .My materials often dictate my change of aims, and I choose to work in a different material much as a man may suddenly feel an appetite for a change in diet. [c. 1960]

But Orpheus has always haunted me, and I am not so sure I've exorcised his spell on me. For all I know, I may yet be tempted to try a sixth or a seventh 'Orpheus' in years to come. Besides the scale of each figure makes it necessary to conceive it differently. [c. 1960]

But a sculpture which sets out to achieve the same ends demands an almost unbelievable effort of concentration. Practically none of the episodes or moments of such a legend, [of Prometheus ] really lends itself to sculpture, and the sculptors of the nineteenth century were often quite careless or foolish in the choice of the moment which they set out to represent. Their works could thus become cluttered with all sorts of narrative details which detract from the monumental quality of the whole.. .That's why, in my 'Prometheus', I represent the fire as an integral part of the presence or appearance of the hero; he stands there before us in all his awe-inspiring grandeur, a human figure that seemed in the eyes of the men who first saw him to be actually consumed by the fire that he was bearing. [c. 1960]

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