“The image of the city and the obliterated streets of Rotterdam haunted me. When I returned to Paris, I made a draft model for a statue in clay which attempted to express the combination of confusion and horror.... to stimulate emotion in the onlooker, to exude something which captivates the spectator, which opens up to them an unsuspected pathway in their own soul.”

— Ossip Zadkine

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

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The image of the city and the obliterated streets of Rotterdam haunted me. When I returned to Paris, I made a draft mod…" by Ossip Zadkine?

Ossip Zadkine31

French sculptor 1890–1967

Related quotes

“I have another painting finished, a view near Rotterdam, and then another in process, and very far along. I made them from nature, that is to say I made watercolors [in open air] after which I made my [oil]-paintings.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

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

“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.”

Ossip Zadkine (1890–1967) French sculptor

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

“I feel that music is the art which can best express the emotions which flow within us. It conveys something bigger than it is.”

Andrew Sega (1975) musician from America

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.”

Charles V, Holy Roman Emperor (1500–1558) Holy Roman Emperor

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.

“There is a mystery about this which stimulates the imagination; where there is no imagination there is no horror.”

Arthur Conan Doyle book A Study in Scarlet

Source: A Study in Scarlet

“I could only relate to a dead image of the person I could love. The image of my dead grandfather would be the model of him at his most striking in my mind. It seems necessary for them to have been dead in order that I could express those feelings which were the feelings I held sacred for my grandfather … it was a pseudo-sexual, infantile love which had not yet developed and matured. The sight of them [my victims] brought me a bitter sweetness and a temporary peace and fulfillment.”

Dennis Nilsen (1945–2018) British serial killer

As quoted by Brian Masters (2011), Killing for Company, Random House, p. 189, ISBN 1446428737

“The measure of greatness in a scientific idea is the extent to which it stimulates thought and opens up new lines of research.”

Paul Dirac (1902–1984) theoretical physicist

The scientific work of Georges Lemaître (1968), P.A.M. Dirac, Commentarii (Pontifical Academy of Sciences), vol 2, 11, pp. 1–18.

“For when I construct lines and colour combinations on a flat surface, it is with the aim of portraying 'universally beauty' as consciously as possible. Nature (or that which I see) inspires me, provides me – as it does every painter – with the emotion by which I am moved to create something, but I want to approach the truth as closely as possible, abstracting everything until I come to the foundation – still only an outward foundation! – of things. It is for me a clear truth that one does not want to say something 'specific', it is then that one says what is most specific: the truth (which is of great universality).”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

“When I left Paris in 1954, I saw no art that was being 'made' like mine and returning to the U. S. I found no one 'making' art that way either. In my own work, I have never been interested in painterliness (or what I find is) a very personal handwriting, putting marks on a canvas. My work is a different way of seeing and making something and which has a different use.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

“.. if the objects will be mathematical values, the ambient in which they live will be a particular rhythm in the emotion which surrounds them. The graphic translation of this rhythm will be a state of form, a state of color, each of which will give back to the spectator the 'state of mind' which produced it..”

Umberto Boccioni (1882–1916) Italian painter and sculptor

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

Help us to complete the source, original and additional information

Ossip Zadkine31

Related quotes

Related topics