
In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7
Quote of Zadkine from his 'Memoirs', 1967; as cited in 'Torso of the Destroyed City' http://www.zadkine.paris.fr/en/oeuvre/torso-destroyed-city, Musée Zadkine
Zadkine recounts the violence of the impressions which he felt then; the first draft for a monument to the 'Destroyed City', was broken in transport. A new version of a 'projected monument for a bombed city' was produced in 1947
1960 - 1968
In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7
Quote of Zadkine from interview in 'Het Vrije Volk', (Dutch newspaper), 4 July 1950; as cited in 'Unveiling of the Dutch City https://www.wederopbouwrotterdam.nl/en/tijdlijn/unveiling-of-the-destroyed-city/
Ossip Zadkine explained in 1950 the genesis of his large bronze sculpture 'Destroyed City', commissioned by the city Rotterdam
1940 - 1960
NAID '95 http://www.club.cc.cmu.edu/pub/scene.org/parties/1995/naid95/misc/dn-naid_089.txt
“I have a glove into which I can put your whole city of Paris.”
Context: Allegedly told to Francis I of France. The glove, gant in French, is a reference to the city of Ghent (Gandes in French), where Charles was born.
As quoted by Brian Masters (2011), Killing for Company, Random House, p. 189, ISBN 1446428737
The scientific work of Georges Lemaître (1968), P.A.M. Dirac, Commentarii (Pontifical Academy of Sciences), vol 2, 11, pp. 1–18.
Quote in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's
Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'
in a letter of 12 Feb. 1912 from Paris, to his friend Nino Barbantini (director of the Ca' Pesaro in Venice); as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 67
1912