Carolina Quotes
My huge monument to the bombing of Rotterdam [in 1940, by the German aircraft], for instance, was the third and final version of this figure. Once the model had been accepted in principle and the scale agreed on, I began working on a new version of it, conceiving it to a great extent in terms of the effects of the changes of lighting in which such a monument would been seen in the open air. [c. 1960]

Ossip Zadkine Connected to the Carolinas

Source

the name of the monument is ('Destroyed City', 1953), in Dutch language: in Dutch: 'De verwoeste Stad'] — p. 155

work
Dialogues – conversations with.., quotes, c. 1960
year
1953
locator
p. 155

Cite this record

“My huge monument to the bombing of Rotterdam [in 1940, by th…” Ossip Zadkine. Carolina Quotes, record CQ-C0229CAEC5. https://carolinaquotes.com/quote/c0229caec5

More from Ossip Zadkine

..I write you from the French front where I'am serving as a soldier in the Russian ambulance Corps. How are you feeling and what are you doing? How are your friends, Lissitsky, Libakov [also former students of Pen], Mazel, Mekler, and Chagall? Please, for God's sake, answer me. I would be so glad to hear how everyone is. I'm in fine health, but tired of it all – it's utterly disgraceful, makes the soul turn cold. If only it [the war] would just end. What are you working on, what are you doing? Please write me. – Yours Zadkine.
Quote in a letter of Zadkine (in France) to his former art-teacher Yuri Moiseevich Pen in Vitebsk, Russia, 16 Nov. 1916 (transl. into Belorussian E.M. Kichina); as quoted in Vitebsk: The Life of Art, by Aleksandra Semenovna Shatskikh; Yale University Press, 2007, p. 19
In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..
New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 430

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