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01645

LIPCHITZ, Ossip/Jacques

Druskieniki, Lithuania 1891 - Capri, Italy 1973

Femme assise (Figure cubiste)

Seated Woman (Cubist Figure)

1916

stone

statue

Dimensions (HxWxD): 42 12 x 11 14 x 12 14 in.

[no inscription listed]

Acc. No.: 1977.A.02

Credit Line: Raymond and Patsy Nasher Collection, Dallas, Texas

Photo credit: David Heald / Nasher Sculpture Center, Dallas


Provenance

  • Artist
  • 1968, New York, Marlborough-Gerson Gallery
  • Los Angeles, Norton Simon, Inc.
  • 1973, May, 2, New York, Sold at Sotheby's
  • Switzerland, Medarco
  • New York, M. Knoedler & Company, Inc.
  • 1977, Dallas, Texas, Raymond and Patsy Nasher Collection

Bibliography

  • 2003 Nash, Giménez and Brenson
    Steven A. Nash, Carmen Giménez, Michael Brenson, A Century of Sculpture: The Nasher Collection, Dallas, The Nasher Foundation, 2003 (first published in 1997, expanded and republished in 2003 by The Nasher Foundation on the occasion of the inauguration in October 2003 of the Nasher Sculpture Center), p. 142-142, repr., 365

Exhibitions

  • Museum's website:

    1968 New York
    Lipchitz: The Cubist Period, 1913-1930, Marlborough-Gerson Gallery, New York, 1968. Exhibition catalogue.

    1968-1969 New York
    The Metropolitan Museum of Art, New York, 1968-1969.

    1971 Los Angeles
    The Cubist Epoch, Los Angeles County Museum of Art, 1971. Exhibition catalogue.

    1972-1973 Princeton
    Selections from the Norton Simon Museum of Art, The Art Museum, Princeton University, Princeton, New Jersey, 1972-73. Exhibition catalogue.

    1978 Dallas
    20th Century Sculpture from the Mr. and Mrs. Raymond D. Nasher Collection, University Gallery, Southern Methodist University, Dallas, September 22 - October 22, 1978. Exhibition catalogue.

    1978 Dallas
    Dallas Collects: Impressionist and Early Modern Masters, Dallas Museum of Fine Art, 1978. Exhibition catalogue.

    1987-1989 Dallas/Washington/Madrid/Florence/Tel Aviv
    A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, Dallas Museum of Art, April 5 - May 31, 1987; National Gallery of Art, Washington, D.C., June 28, 1987 - January 3, 1988; Museo Nacional Centro de Arte Reina Sofia, Madrid, April 4 - June 5, 1988; Forte Belvedere, Florence, Italy, July 8 - October 16, 1988; Tel Aviv Museum of Art, January 1 - March 31, 1989. Exhibition catalogue.

    1989-1990 Toronto
    Jacques Lipchitz: A Retrospective, Art Gallery of Ontario, Toronto, December 15, 1989 - March 11, 1990. Exhibition catalogue.

    1996-1997 San Francisco/New York
    A Century of Sculpture: The Nasher Collection, Fine Arts Museums of San Francisco, October 26, 1996 - January 12, 1997; Solomon R. Guggenheim Museum, New York, February 6 - June 1, 1997. Exhibition catalogue.

    2003-2004 Dallas
    From Rodin to Calder: Masterworks of Modern Sculpture from the Nasher Collection, Nasher Sculpture Center, Dallas, October 20, 2003 - September 2004.

    2004-2005 Dallas
    Bodies Past and Present: The Figurative Tradition in the Nasher Collection, Nasher Sculpture Center, Dallas, September 2004 - July 2005.

    2008 Dallas
    Jacques Lipchitz: A Gift from the Artist's Estate, Nasher Sculpture Center, Dallas, June 21 - September 1, 2008

Related works

  • Museum's website:
    In the winter of 1916, then living in Paris, Lipchitz signed a contract with the dealer Léonce Rosenberg, which enabled him to employ a stone cutter to help with his carvings (Jacques Lipchitz, My Life in Sculpture, New York 1972, p. 42). He later recalled, however, that he began the cutting of this particular sculpture himself (Stott, 1978, p. 237).
    His normal practice was first to make a plaster and then, based on that model, proceed to the carving of a stone, although in this case, no original plaster has come to light.
    A plaster that appears to have been made from the stone is now in The Tate Gallery, London. It includes a base and replicates the stone's rough texture. The date of its casting is problematic, and it may postdate the stone version by a considerable period of time. The surface of the plaster is marked with a network of pencil crosses seemingly in preparation for the carving of another copy, but none is known (information on the plaster from A.D. Fraser Jenkins, The Tate Gallery, London).
    At some time prior to 1970, the sculpture was cast in an edition of bronzes numbered up to 7/7. The bronzes also include a base.