Ossip Zadkine  (French/Russian, 1890-1967) 

whitespace

Find Ossip Zadkine artworks for sale worldwide, artworks that sold at auction, a detailed biography, and more information on the artist below.
envelope Get email alerts about this artist!  
Artworks for sale (19)
In Art Galleries (19)
Dealers selling (17)

Sold Artworks
In Past Auctions (1824)

Calendar
Exhibitions (3)

artnet Magazine
Articles (1)

More Information
Biography
Monographs
artnet Analytics Reports
Market Reports
* paid service

Artworks for sale (19)

View All   

Ossip Zadkine, Projet du monument à van Gogh. Auvers sur Oise

 

Ossip Zadkine
Projet du monument à van Gogh. Auvers sur Oise
1956

Wiegersma Fine Art
Ossip Zadkine, La fonte des neiges

 

Ossip Zadkine
La fonte des neiges
1957

Wiegersma Fine Art
Ossip Zadkine, Grand Arlequin Hurlant

 

Ossip Zadkine
Grand Arlequin Hurlant
1956

Jimmy D. Robinson, Inc.
Ossip Zadkine, Flamme / Flame

 

Ossip Zadkine
Flamme / Flame
1966

Galerie Jean Louis Danant
Ossip Zadkine, Le rêveur

 

Ossip Zadkine
Le rêveur
1931

Galerie Fleury
Ossip Zadkine, La muse

 

Ossip Zadkine
La muse
1943

Galerie Fleury
Ossip Zadkine, Le violoncelliste

 

Ossip Zadkine
Le violoncelliste
1935

Galerie Fleury
Ossip Zadkine, Le sculpteur

 

Ossip Zadkine
Le sculpteur
1947

Wiegersma Fine Art
Ossip Zadkine, Formes Feminines or Sculpture

 

Ossip Zadkine
Formes Feminines or Sculpture
1922

Wiegersma Fine Art
Past auction results (1824)  View All
Ossip Zadkine, Personnages

 

Ossip Zadkine
Personnages
pastel on paper

 

View Details
Ossip Zadkine, Musicien

 

Ossip Zadkine
Musicien
ink on paper

 

View Details
Ossip Zadkine, Iphigénie

 

Ossip Zadkine
Iphigénie, 1940
bronze w/brown and gold patina

 

View Details

  Ossip Zadkine was born in Vitebsk, Russia, the same town as his contemporary, Chagall. Between 1905 - 1909 he travelled to London to study classical sculpture at the British Museum – a period that was to have a marked impact on his later works, in particular the thirties gouaches. In 1910 he moved to Paris, later taking a room in Montparnasse in the rue de Vaugirard in 1912-13, where he worked alongside many of the Ecole de Paris artists. There he met Brancusi, Apollinaire, Lipchitz, Picasso, Matisse and Modigliani, who was to become a great friend to Zadkine.
  The term Ecole de Paris, referring to foreign artists working in Paris, roughly between 1910-1930 and specifically in Montparnasse, was coined in 1925 by the critic Andre Warnod. The school is today most often recognised as the confluence of Jewish immigrant artists in the early 1900s with the emerging modernist aesthetic that had essentially been transposed from Montmartre to Montparnasse.
  The new generation of Jews in Eastern Europe were denied both freedom of movement and of expression and access to higher education in arts in their home countries. Paris became an almost mythical city that represented for them a refuge, a haven and a centre for the arts, which could offer them not only the observance of human rights but a better and more exciting way of life. There was an unsurpassable passion for art in this Jewish community at the turn of 20th century.
  Zadkine’s early works reveal a great admiration for the expressive power of primitive art and an ability to adapt its boldness and stark simplicity in his own work. From 1914 the influence mainly of Lipchitz led to his cubist creations. These works translated the abstract character of cubist painting into shifting flat planes, angularity, and contrasts of convex and concave areas, both in sculpture and in painting.
  Towards the end of the decade and throughout the twenties and thirties, Zadkine enjoyed international success with shows in Tokyo (Takenodai Gallery, 1922), Paris (Retrospective, Barbazanges Gallery, (1926), London (1928), Chicago (Arts Club, 1930), Brussels, and New York (1937). Hailed as a hugely important and influential European artist, the Museum of Modern Art in New York held a Zadkine retrospective in 1949. In 1961 the Tate Gallery in London also held a seminal exhibition of his work, followed shortly after by a retrospective in the Kunsthaus Zurich in 1965.
  Whilst Zadkine was better known as a sculptor; primarily of deconstructed stone and wooden statues, striking in their strongly geometric, closed forms; from around 1922 he worked on a number of gouaches, watercolours, drawings and lithographs. ‘Maternité’, 1934, is an important example of the period: much of Zadkine’s art after 1930 contained neo-classical elements. An expert on Greco-Roman civilisation, he revered European culture, often utilising elements to provide a complex narrative to his works. This is an exceptionally modern depiction of an age-old subject: the tender love between a mother and child; rendered in the powerful and original style that was to make Zadkine a major influence on twentieth century art.