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The spectator of a sculpture, modern or ancient, is not called to examine his own or the sculptor's knowledge of anatomy but to participations, so to… - Ossip Zadkine
" "The spectator of a sculpture, modern or ancient, is not called to examine his own or the sculptor's knowledge of anatomy but to participations, so to say, a participation where the motions which have strangulated the carver, while working, must operate the same mysterious attraction and inexpressible miracle of forms and lines, its dramaticism, its graphic tragedy, or its smiling gaiety and happiness: its words carved out of forms and sown with lines into phrases of philosophy, religion.
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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
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Osip Zadkin
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Oshippu Zakkin
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Osip Cadkin
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Joë Zadkine
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Osip Tsadkin
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Additional quotes by Ossip Zadkine
In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..
..I write you from the French front where I'am serving as a soldier in the Russian ambulance Corps. How are you feeling and what are you doing? How are your friends, Lissitsky, Libakov [also former students of Pen], Mazel, Mekler, and Chagall? Please, for God's sake, answer me. I would be so glad to hear how everyone is.
I'm in fine health, but tired of it all – it's utterly disgraceful, makes the soul turn cold. If only it [the war] would just end.
What are you working on, what are you doing? Please write me. – Yours Zadkine.
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In October 1945 I returned from America, where I had stayed during the war. I arrived in Le Havre, full of ruins, a carcass of a city. It took one night to reach Paris on a train with no windows. That night I got the idea for the monument. I sketched it on paper and forgot about it, until I visited Rotterdam for the first time in 1947. I saw a city without a heart. I saw a crater in the body of a city. And I remembered that night, the sketches. I made a small terracotta model and sent it to an exhibition of French art in Germany.
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