Ossip Zadkine: Figure

“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.”

Ossip Zadkine

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 154

Men , Effort , Appearance , Parting

“My huge monument to the bombing of Rotterdam [in 1940, by the German aircraft], for instance, was the third and final version of this figure. Once the model had been accepted in principle and the scale agreed on, I began working on a new version of it, conceiving it to a great extent in terms of the effects of the changes of lighting in which such a monument would been seen in the open air.”

Ossip Zadkine

c. 1960
the name of the monument is ( 'Destroyed City', 1953 https://upload.wikimedia.org/wikipedia/commons/4/47/Zadkine_%27s_verwoeste_stad..jpg), in Dutch language: in Dutch: 'De verwoeste Stad']
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 155

Light , Change

“As a matter of fact, these attributes are their fate, no longer separate objects they can carry.... part of their actual presence. I try to signify this by reorganizing the objective form of such a legendary figure so as to create an allegorical form that is complete in itself, no longer requiring an attribute that must be carried like the German businessman’s briefcase; the lyre becomes part of the poet's presence, its text written all over his body, as if tattooed on his skin.”

Ossip Zadkine

quote, c. 1960, in France
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 153

Fate , Quotes , Tattoo , Parting

“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.”

Ossip Zadkine

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 155

“Firstly for the design I decided that the two joined figures should be depicted upright [in Zadkine's first attempt the two brothers were sitting shoulder to shoulder].... two or three days later I was able to send him a photo of my new attempt, in which the two brothers are not only standing, but where the bond – the main idea is projected onto the statue in a hollow, in the heart of the composition the viewer can see a knot of hands, a symbol of the double inspiration.”

Ossip Zadkine

Source: 1940 - 1960, Les frères Van Gogh, origine et justification', c. 1955, pp. 67-69

Photo , Idea , Heart

“The sculptors of the cathedral porches of the Middle Ages already knew that we can identify many legendary figures by their attributes, not their physical appearance. How is one to recognize Orpheus without his lyre, or Saint Lawrence without his grid? At the same time it seems a bit absurd, In an art that claims to be realistic, to have Orpheus always carrying his lyre, like a German businessman his briefcase. There must have been moments when Orpheus and Saint Lawrence left their lyre or their grid at the checkroom, for instance.. [c. 1960, in France]”

Ossip Zadkine

Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 153

Age , Art , Appearance , Time

“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.”

Ossip Zadkine

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, pp. 154-155

Music , Parting , Perfection