Ossip Zadkine  (French/Russian, 1890-1967) 

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Artworks for sale (19)

 
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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, Trois graces

 

Ossip Zadkine
Trois graces
1932

Wiegersma Fine Art
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
Ossip Zadkine, Couple et enfant

 

Ossip Zadkine
Couple et enfant
1922

Wiegersma Fine Art
Ossip Zadkine, Composition classique

 

Ossip Zadkine
Composition classique
1941

Galerie Fleury
Ossip Zadkine, Mascarade

 

Ossip Zadkine
Mascarade
1928

Wiegersma Fine Art
Ossip Zadkine, Groupe aux quatre visages

 

Ossip Zadkine
Groupe aux quatre visages
1967

Wiegersma Fine Art
Ossip Zadkine, Le chien de geryon

 

Ossip Zadkine
Le chien de geryon
1960

Wiegersma Fine Art
Ossip Zadkine, Geryon

 

Ossip Zadkine
Geryon
1961

Wiegersma Fine Art
Ossip Zadkine, Buste de Carol Janeway

 

Ossip Zadkine
Buste de Carol Janeway
Soufer Gallery
Ossip Zadkine, Deux femmes

 

Ossip Zadkine
Deux femmes
1941

Wiegersma Fine Art
Ossip Zadkine, Femme Á L'Éventail

 

Ossip Zadkine
Femme Á L'Éventail
1914

Modernism Fine Arts Inc
Ossip Zadkine, Castor

 

Ossip Zadkine
Castor
1942

Modernism Fine Arts Inc
Ossip Zadkine, The Three Graces

 

Ossip Zadkine
The Three Graces
1928

Stern Pissarro Gallery
  

  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.