Details
'FEMME ET GAZELLES'
BY JACQUES LIPCHITZ (1891-1973)
Bronze with brown patina, original plaster version executed 1911-1912; this version cast at a later date--31in. (78.8cm.) high
LITERATURE
S. Cheney, A Primer of Modern Art, New York, 1924, p.71 (another cast illustrated)
A.M. Hammacher, Jacques Lipchitz, His Life in Sculpture, New York, 1960, p.14
J. Lipchitz and H.H. Arnason, My Life in Sculpture, New York, 1972, p.7 (another cast illustrated, p.4, fig.3)
A.G. Wilkinson, Jacques Lipchitz, A Life in Sculpture, Ontario, 1989, p.60, no. 1 (another cast illustrated, pp. 4 & 60)
Woman and Gazelles, Lipchitz's first major sculpture, was made in 1911 or 1912, while he was studying at the Académie Julien. He first made the gazelle after a sketching trip to the Jardin des Plantes, and he subsequently decided to combine it with a female nude, which he modelled at art school. Women and Gazelles met with considerable success when the group was exhibited in plaster at the 1913 Salon d'Automne. The sculpture originally included one gazelle, but Lipchitz decided to balance the composition by adding another.
Lipchitz's work of 1911-12, which includes several portrait heads, has much in common with the continuation of the classical tradition represented in the work of Bourdelle, Dalou, Despiau and, above all. Maillol. Indeed, according to Deborah Stott, "Lipchitz remembered that he was drawn to the balanced, self-contained sculpture of Maillol and works in the Greek galleries of the Louvre...",.The figure differs from Maillol's sculpture in the elongation of the arms and the slender body. And yet Woman and Gazelles, in the balance and equilibrium of the simplified treatment of the volumes, shares with Maillol's timless nudes a feeling of calssical calm. (A.G. Wilkinson, ÿ. 60)
BY JACQUES LIPCHITZ (1891-1973)
Bronze with brown patina, original plaster version executed 1911-1912; this version cast at a later date--31in. (78.8cm.) high
LITERATURE
S. Cheney, A Primer of Modern Art, New York, 1924, p.71 (another cast illustrated)
A.M. Hammacher, Jacques Lipchitz, His Life in Sculpture, New York, 1960, p.14
J. Lipchitz and H.H. Arnason, My Life in Sculpture, New York, 1972, p.7 (another cast illustrated, p.4, fig.3)
A.G. Wilkinson, Jacques Lipchitz, A Life in Sculpture, Ontario, 1989, p.60, no. 1 (another cast illustrated, pp. 4 & 60)
Woman and Gazelles, Lipchitz's first major sculpture, was made in 1911 or 1912, while he was studying at the Académie Julien. He first made the gazelle after a sketching trip to the Jardin des Plantes, and he subsequently decided to combine it with a female nude, which he modelled at art school. Women and Gazelles met with considerable success when the group was exhibited in plaster at the 1913 Salon d'Automne. The sculpture originally included one gazelle, but Lipchitz decided to balance the composition by adding another.
Lipchitz's work of 1911-12, which includes several portrait heads, has much in common with the continuation of the classical tradition represented in the work of Bourdelle, Dalou, Despiau and, above all. Maillol. Indeed, according to Deborah Stott, "Lipchitz remembered that he was drawn to the balanced, self-contained sculpture of Maillol and works in the Greek galleries of the Louvre...",.The figure differs from Maillol's sculpture in the elongation of the arms and the slender body. And yet Woman and Gazelles, in the balance and equilibrium of the simplified treatment of the volumes, shares with Maillol's timless nudes a feeling of calssical calm. (A.G. Wilkinson, ÿ. 60)