Jacques Lipchitz and the School of Paris by Marlborough Gallery

JACQUES LIPCHITZ AND THE SCHOOL OF PARIS

JACQUES LIPCHITZ AND THE SCHOOL OF PARIS

Marlborough Fine Art London

6 Albemarle Street London W1S 4BY + 44 (0) 20 7629 5161 marlboroughgallerylondon.com

Marlborough New York 545 West 25th Street New York, NY 10001 + 1 (212) 541 4900 marlboroughnewyork.com

Galería Marlborough Madrid Calle de Orfila 5 28010 Madrid, Spain +34 913 19 14 14 galeriamarlborough.com

THE SCULPTOR AS POET

[1] Installation view of Artist and Maecenas: A Tribute to Curt Valentin, 1963

[2] Jacques Lipchitz in his studio, 1970

Marlborough’s long engagement with the work of Jacques Lipchitz began with the merger between the former Otto Gerson Gallery and Marlborough Fine Art in New York in 1963. Otto Gerson had become the successor to the Curt Valentin Gallery, which had long been Lipchitz’s representative in the United States. That year, the new Marlborough-Gerson Gallery hosted a memorial exhibition entitled Artist and Maecenas: A Tribute to Curt Valentin, heralding Marlborough’s entry into the New York market. Since that time, the gallery has provided extensive support for the continuing legacy of this twentieth-century master.

Jacques Lipchitz (born Chaim Lipchitz in Druskininkai, Lithuania) was eighteen when he arrived in Paris in October 1909, where he quickly became acquainted with key figures of the avant-garde. Unlike other foreign artists who had settled in the French capital such as Pablo Picasso, Constantin Brâncuși, Alexander Archipenko, and Amedeo Modigliani, Lipchitz had no previous academic training, and studied only briefly at the esteemed École des Beaux-Arts and Académie Julian. In 1912 he moved into a studio next to Brâncuși, and in 1913 he was introduced to Picasso through Diego Rivera. Soon afterwards he embarked on what he referred to as his proto-Cubist phase, employing a translation of pictorial experiments from Cubist painting into three-dimensional sculpture. The present exhibition focuses on works throughout Lipchitz’s œuvre and the influences of other artists around him prior to his relocation to New York in June 1941.

While many artists from across Europe moved to Paris to experience Cubism and the artistic avant-garde firsthand, others explored its implications from a distance, against the background of their own locality and traditions. As a Jewish émigré from Lithuania, Lipchitz had longed to move to Paris despite the disapproval of his father. In Paris, architectural planning remained a central part of a sculptor’s formal academic training. More important in that time, however, was the impetus Cubist painting gave

1964)

Femme Assise, 1912 bronze, ed. 11 of 12 15⅝ × 10⅛ × 7¾ in. / 40 × 26 × 20 cm

to sculpture towards the development of an infinitely variable language, one that could suggest a more complex visualisation of the world than could traditional rendering practices.

It is generally assumed that Lipchitz’s first radically cubist work was stimulated by the revolutionary trends then apparent in sculpture, especially in the work of Alexander Archipenko. In Femme Assise, 1912 [2], Archipenko creates a composite of frontal and profile views. While we understand this to be a basic tenant of early Cubism, Archipenko was the first sculptor to ratify these principles in three-dimensional space. Considering such developments, Lipchitz began to show his grasp of the Cubists’ analysis, representing figures as if seen from multiple angles and perspectives, often with deep and shallow facets that were informed by the play of light. This effect created an agitated movement which animated an otherwise static mass. Lipchitz absorbed the visual grammar and syntax from this new milieu, just as he gradually adapted to the ways of the Frenchman, assimilating the speech, customs, and habits of thought and expression of his adopted country. He mingled curving planes to create effects of interior or negative space, with a renewed emphasis on frontality, recalling: “I was doing something comparable to the Greek and Egyptian statues which were among my first loves.” Hereafter, informed by his new surroundings, Lipchitz created a multivalent sculptural poetics of rendering vibrant forms that would serve as a longitudinal study over the remainder of his career.

Lipchitz’s early works in stone and bronze realized the potential of Cubism as a sculptural form. In 1918, he began creating bas-reliefs that depicted still lifes of objects such as wine bottles, fruit baskets, and, most commonly, musical instruments. Often placed in a deeply cut oval, curvilinear shapes and planes in high relief emphasized the contrasts of light and shadow, thus accentuating the three-dimensional sculptural effect. Through a series of musically themed reliefs such as the Harlequin with Mandolin in Oval, 1923, [p. 36] Lipchitz explored increasingly free-form depictions of rhyme and dissonance within a geometrically balanced and controlled space. The forms we see here of the mandolin and Harlequin dissolve and collide in shallow space like a floating sound chamber suggesting a wave of imaginary melody and movement. In 1922, Albert Barnes, an enthusiastic early collector of the artist’s work, commissioned Lipchitz to create five of these bas-relief works for the façade of his museum, The Barnes Foundation, at its original site in Merion, Pennsylvania.

Like many in his circle, both during and after the First World War, Lipchitz celebrated the liberating effects of imaginative play by embracing the world of Italian street theatre, the Commedia dell’arte, producing a host of its traditional masked characters— Pierrots, Harlequins, and a panoply of musicians—like those that wandered through the scenes of his friend Max Jacob’s poetry (his 1921 Le Bal Masqué, for example), or Erik Satie’s musical score and Picasso’s stage setting for the 1917 ballet Parade. Just as Picasso’s Harlequin painting of 1915 had combined highly stylized front and side views of the character’s head, constructing the figure as though from a series of cardboard cut-outs, and suggesting constant shifts in role and costume by using bold color to confuse the layering effect of the forms, so in Lipchitz’s Harlequin with Accordion of 1926 the face is dissected to suggest a partially veiled personality. Lipchitz’s figure takes on the animated

[3] Alexander Archipenko (1887

concertina pattering of the instrument he plays, with sharply cut, tumbling sections that create a dramatic play of light and shadow. Lipchitz could also suggest shifting meanings and identities with great subtlety in the bas-relief format.

Paysage Animé, 1937, a thematically similar still life by Léger, with whom Lipchitz became acquainted at La Ruche, an artist residence in Montparnasse, demonstrates this ongoing interest in the interweaving of geometric planes. The painting is inspired by the imagined landscapes of Henri Rousseau, in which man and beast are joined in familial complicity, while two still lifes by Braque are less a function of psycho-perceptual distortion than a perceptual merging of form and atmosphere. Braque rejected the inherited concept that art should copy nature, or that artists should adopt the traditional techniques of perspective, modeling, and foreshortening. He wanted instead to emphasize the two-dimensionality of the canvas. So he reduced and fractured objects into geometric forms, and then realigned these within a shallow, relief-like space. He also used multiple or contrasting vantage points. These elements can be seen in his Pomme, Verre et Serviette, 1927, a still life in which the artist incorporates a tablescape of objects that seemingly blur together inside a shallow plane.

The next cycle of sculptures Lipchitz produced are collectively known as transparents. In these curvilinear bronzes, he incorporates open space into the design, depicting mass by integrating solid with void. Many of these early transparents were cast from small fragile cardboard and wax constructions. When Lipchitz modeled these works starting in 1925, his success was such that he was able to commission the architect Le Corbusier to design a house and studio in the Paris suburbs for him. As he moved from the city center, he abandoned the geometric cubist style that he had shared with Picasso and Juan Gris for a new lyrical expressiveness.

While Europe was threatened by the political and economic upheavals of the thirties, Lipchitz’s work grew more and more personal. Still, external factors like the Great Depression, the rise of Hitler, the political tensions within France, and the looming inevitability of war all colored Lipchitz’s subsequent work. It was at this time that he began work on a series around the theme of family including The Couple, 1929, [p. 48] an intimate expression of physical love, and Mother and Child, Maquette No. 1, 1929, [p. 52] a reference to his own mother, towards whom he had always felt a deep attachment.

For nearly a decade, Lipchitz developed new formal approaches to his sculpture, including experimentation with solids and voids, and increasingly large-scale works. By the mid-1930s, his earlier austere, classically oriented formalism gave way to equally masterful works exhibiting expressionist modeling and a decidedly baroque sensibility. Likewise, his earlier focus on pleasurable themes from modern life—such as acrobats, Harlequins, and still lifes—became transformed to heroic, often tragic themes from the Old Testament and classical mythology. These subjects were often concerned with the major issues of man’s struggle with the world, with others, and with himself. Lipchitz sought to distill the profundity of such subjects in monumental scale while simultaneously striving for technical innovation.

In 1941, Lipchitz was able to make the journey to the United States with assistance from

[4] Fernand Léger (1881 1955)

Paysage Animé, 1937 oil on canvas

35 ⅞ × 23 ¼ in. / 91.1 × 59.1 cm

The Museum of Modern Art in New York, while his dealer Jeanne Bucher took care of his home in Paris and hid his bronze sculptures from the threat of Nazi looters. That same year, he created Return of the Child, described as a response to the harrowing escape from the horror of the fascists to the refuge of the United States.

Following his relocation, Lipchitz often turned to Jewish ceremonial and historical subjects. As a lifelong reader of the Pentateuch, he was well-versed in Biblical themes. In Hagar I, 1948, [p. 78] Lipchitz depicts the story of Hagar, the Egyptian maidservant of Sarah, wife of Abraham. Unable to conceive, Sarah encourages Abraham to have a child with her maidservant. Once Hagar becomes pregnant with her son Ishmael, however, she is treated poorly by Sarah and flees. Cast out into the desert without water, Hagar, in her despair, hears an angel’s voice that rouses her to hope and, in a vision, sees a spring of salvation. Here Lipchitz has imagined the motherly protection of Hagar as she offers her child comfort and refuge in her arms. She looks heavenward for aid with a mixture of despair and hope. The enlarged limbs and rhetorical gestures, angular forms, and roughly modeled surfaces of Hagar convey the passion of the unremitting human struggle for existence.

The artist makes clear in his autobiography that his interpretation of this subject refers to the foundation of Israel in 1948. Hagar, in Genesis 16, was the mother of Abraham’s illegitimate son Ishmael, who was the ancestor of the Arabs. They were exiled by Sarah, who was the mother of Isaac, the ancestor of the Jews. The subject therefore appeals for sympathy for the Arabs, but Lipchitz also goes on to refer to his own situation as an exile in America, with his second wife and their child. The dates of the Hagar series illuminate another dimension: the first made in 1948, the year of the Arab-Israeli war that led to the expulsion of some 750,000 Palestinians, marking the founding of Israel. In referencing the distanced relation between Isaac and Ishmael, the artist frames the works as a “prayer for brotherhood between the Jews and the Arabs.” As Lipchitz writes in his autobiography:

The two concepts, my feeling for Israel and my feeling for the mother and child, came together in the Hagar I of 1948, which has to do with Israel and the conflict between Israel and the Arabs. Despite my admiration for and love of Israel, I feel strongly that the Jews and the Arabs should make peace, that they should live together as brothers, which they were able to do for many centuries. […] I wished to show my sympathy for Ishmael, who is thought of as the father of the Arabs in the same manner as the Hebrews are the sons of Abraham; so this is a prayer for brotherhood between the Jews and the Arabs. It is a concept which combines tragedy and suffering with tenderness and hope for the future.

One can best appreciate Hagar I by understanding its predecessors within his œuvre— formally, thematically, and personally. The work takes a place in Lipchitz’s ongoing focus on epic struggle, beginning with his Jacob Wrestling with the Angel of the early thirties. The transformation of the biblical theme into a mythological one with his Prometheus and the Vulture series (1933 37) emerged in response to the oppressive threat of Nazism, which ultimately forced him to flee France.

He later said of this great rupture, “I had been forced to leave everything—my studio,

my house, my collection—and I was reconciled to the idea that everything was lost or destroyed. I had begun a new life in the United States.” The persecution of Jewish people by the Nazis caused Lipchitz to engage more actively in his religion and in his later years he sought the spiritual help of a Rabbi. Lipchitz eventually found some religious catharsis through the sculptures that he created in the 1940s.

When he and his wife Berthe finally visited Paris for an exhibition after World War II, she informed Lipchitz that she didn’t wish to return to the US. The couple was subsequently divorced and he continued to live in America, settling in Hastings-onHudson, a northern suburb of New York City. Soon after, he met and married Yulla Haberstadt, a sculptor from Berlin.

Back in America, Lipchitz had limited contact with the painters and sculptors of New York’s Abstract Expressionist School such as Mark Rothko and David Smith. There are nevertheless some striking connections between them. In fact, in 1946 the critic Clement Greenberg compared the scale, “bombast,” and ambition of Lipchitz to thenemerging painter Jackson Pollock. The Abstract Expressionists and Lipchitz shared an emotive handling of media and were obsessed with classical and tribal myths. These attributes and their common focus on the tragic, changeless nature of human psychology were no doubt a response to the zeitgeist of the epoch: the devastating realities of World War II and the Holocaust. Lipchitz sought a sculptural form of expressionism that could help him convey both his own personal feelings of sorrow and comment on the tumultuous state of the world.

In 1958, he suffered a major hemorrhage due to stomach cancer. Although he survived it, the illness constituted a significant setback for the artist. However, he continued to produce art until his death on the Italian island of Capri in 1973, where he had a villa and studio near a respected foundry. After his death his body was flown to Jerusalem for burial.

Perhaps the enduring legacy of Lipchitz’s work is most effectively described in terms of poetry. In a broad sense, Lipchitz is a poet employing images no less for symbolic and associational values than for the beauty of their forms, expressing in his later work some of the great themes common to both literary and artistic tradition. Throughout his work one finds the recurrent themes of life, energy, love, and virility. Every sculpture he ever made, he claimed, was conceived in a spirit of optimism.

SCULPTURE

Jacques Lipchitz Pregnant Woman, 1912

Work Details bronze

inscribed and numbered ‘J. Lipchitz 3/7’

24¼ × 4⅞ × 5½ in. / 61.6 × 12.4 × 14 cm Wilkinson #11

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Cat. no. 6, reproduced in black and white, p. 13.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 11, reproduced in black and white, p. 38.

PREGNANT WOMAN 1912

“

The mother-and-child idea may be said to have emerged first in the standing figure of Pregnant Woman, a tender evocation of approaching motherhood done in 1912. This was a free sketch executed outside of class, a somewhat unusual idea for the time, that simply came to the artist perhaps in a moment of nostalgia and loneliness when he was almost destitute in Paris, feeling like an unborn child, far from the warmth and comfort of his own mother and home.”

“I made some other pierces in this general vein during 1912, of which the most significant to me is probably a figure of a pregnant woman. This, which was done without a model, since I could not afford once, has to do with the mother-andchild theme, something which—perhaps because of my close attachment to my own mother—has always been of great importance to me.”

— H.H. Arnason — Jacques Lipchitz

Jacques Lipchitz Sculpture, 1915

Work Details bronze

inscribed and numbered ‘J. Lipchitz 6/7’ 36 ⅞ × 9⅛ × 7½ in. / 93.7 × 23.4 × 19.1 cm Wilkinson #37

Literature

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 37, reproduced in black and white, pp. 43, 135.

Jacques Lipchitz Seated Figure, 1915

Work Details bronze

inscribed and numbered ‘J. Lipchitz 2/7’ 34¼ × 8¼ × 6¼ in. / 87 × 21 × 16.1 cm Wilkinson #40

Literature Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 40, reproduced in black and white, pp. 43, 137.

Work Details bronze

inscribed and numbered ‘J. Lipchitz 6/7’ 41 × 8 ¾ × 6 ⅜ in. / 104.2 × 22.5 × 16.2 cm Wilkinson #46

Literature

Hammacher, A.M. Jacques Lipchitz. Harry N. Abrams: New York, 1975. Cat. no. 69, reproduced in black and white, p. 119.

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. Crown Publishers: New York, 1966. Reproduced in black and white, p. 54.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 46, reproduced in black and white, p. 44, 141.

Jacques Lipchitz Standing Figure, 1916

Jacques Lipchitz Sculpture, 1916

Work Details bronze

inscribed and numbered ‘J. Lipchitz 3/7’ 44⅞ × 13 ¼ × 14 ¼ in. / 114 × 33.7 × 36.4 cm Wilkinson #51

Literature

Hammacher, A.M. Jacques Lipchitz. Harry N. Abrams: New York, 1975. Cat. no. 64, reproduced in black and white. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 51, reproduced in black and white, p. 45.

Jacques Lipchitz Baigneuse (Bather), 1917

Work Details bronze

inscribed and numbered ‘J. Lipchitz 6/7’ 35¾ × 13 ¼ × 13⅜ in. / 91.1 × 33.7 × 34.1 cm Wilkinson #64

Exhibited

Jacques Lipchitz, Thirty-Three Semi-Automatics 1955– 1956, and Earlier Works 1915 – 1928 (1957). Fine Arts Associates, Inc., New York, New York. 5 March – 30 March 1957. Cat. no. 40.

Fifty Years of Lipchitz Sculpture (1961 – 62). Otto Gerson Gallery, New York, New York, 7 November – 9 December 1961; Andrew Dickson White Museum, Cornell University, Ithaca, New York, 8 January – 11 February 1962. Cat. no. 13; reproduced in black and white (unpaginated, different cast exhibited).

Jacques Lipchitz: A Retrospective Selected by the Artist (1963 – 64). UCLA Art Galleries, University of California Art Council, Los Angeles, California, 4 March – 14 April 1963; San Francisco Museum of Art, San Francisco, California, 23 April – 2 June 1963; Denver Art Museum, Denver, Colorado, 30 June – 25 August 1963; Fort Worth Art Center, Fort Worth, Texas, September – October 1963; Walker Art Center, Minneapolis, Minnesota, 26 November 1963 – 19 January 1964; Des Moines Art Center, Des Moines, Iowa, 1 February – 8 March 1964; Philadelphia Museum of Art, Philadelphia, Pennsylvania, 23 April – 7 June 1964. Cat. no. 23 (different cast exhibited, not reproduced).

Artist and Maecenas A Tribute to Curt Valentin (1963). Marlborough-Gerson Gallery, New York, New York. November–December 1963. Cat. no. 111; reproduced in black and white, p. 62 (different cast exhibited).

Lipchitz: The Cubist Period, 1913 – 1930 (1968). Marlborough-Gerson Gallery, New York, New York. March – April 1968. Cat. no. 29; reproduced in black and white (unpaginated, different cast exhibited).

Lipchitz in Otterlo (1977). Rijksmuseum Kröller-Müller, Otterlo, Netherlands. Reproduced in black and white (unpaginated, cast not specified).

Jacques Lipchitz: A Life in Sculpture (1989 – 91). Art Gallery of Ontario, Toronto, Ontario, 15 December 1989 – 11 March 1990; Winnipeg Art Gallery, Winnipeg, Manitoba, 13 May – 12 August, 1990; The Nelson-Atkins Museum of Art, Kansas City, Missouri, 7 October – 25 November 1990; The Jewish Museum, New York, New York, 16 January – 15 April 1991. Cat. no. 24; reproduced in black and white, p. 83 (different cast exhibited).

Paintings and Sculpture (2019). Marlborough Gallery, New York, New York. 30 April – 29 June 2019. Reproduced in color, p. 29.

Literature Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 34, reproduced in black and white, p. 47.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 64, reproduced in black and white, p. 47.

Jacques Lipchitz Still Life, 1918

Work Details bronze inscribed and numbered ‘J. Lipchitz 4/7’ 27 ⅛ × 21 ⅝ × 3 ½ in. / 68.9 × 55.2 × 9.2 cm Wilkinson #80

Jacques Lipchitz Bas Relief, 1918

Work Details stone

unique, inscribed ‘Lipchitz’ on verso 23 × 13 × 3 ⅞ in. / 58.5 × 33 × 10 cm

Exhibited

Picasso and the School of Paris (2006 – 07). Nassau County Museum of Art, Roslyn Harbour, New York, New York. 19 November 2006 – 4 February 2007. Reproduced in color, p. 7 (title listed as Bas Relief III).

Jacques Lipchitz: Early Works, Reliefs and Drawings (2007). Marlborough Gallery, New York, New York. 1 November – 8 December 2007. Cat. no. 28, reproduced in color, p. 21 (title listed as Bas Relief III).

Jacques Lipchitz: Sculptures, bas-reliefs et dessins (2008). Marlborough Monaco, Monaco, Monte Carlo. 26 June – 19 September 2008. Cat. no. 11, reproduced in color, p. 13 (title listed as Bas Relief III).

Jacques Lipchitz: Rétrospective (2009). Le Bellevue, Biarritz, France. 30 June – 4 October 2009. Reproduced in color, p. 62 (title listed as Bas Relief III).

Jacques Lipchitz: Selected Sculpture and Drawing from 1911 to 1972 (2015). Marlborough Gallery, New York, New York. 22 October – 21 November 2015. Reproduced in color, p. 16 (title listed as Bas Relief III).

Jacques Lipchitz Harlequin with Mandolin in Oval, 1923

Work Details bronze

inscribed and numbered ‘J.L. 1/7’ 49 ⅜ × 40⅝ × 7⅝ in. / 125.7 × 103.5 × 19.5 cm Wilkinson #159

Literature

Hammacher, A. M. Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams, 1960. Cat. no. 37, reproduced in black and white (unpaginated).

Hammacher, A. M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 89.

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. New York: Crown Publishers, Inc., 1966. Reproduced in black and white, p. 156.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 159, reproduced in black and white, pp. 66, 176.

HARLEQUIN WITH MANDOLIN IN OVAL 1923

Towards the end of 1922, Jacques Lipchitz met the American collector Albert C. Barnes who commissioned the artist to execute a group of stone bas-reliefs for the Barnes Foundation’s building in Merion, Pennsylvania. Lipchitz initially refused the commission, as he did not think his sculptures would fit in with the classical style of the building. After some discussion, he agreed to sculpt on the condition that he could have complete freedom over his stylistic vision. Lipchitz considered this moment to represent a breakthrough in his entire oeuvre as he was able to consolidate a number of ideas that had been fermenting during the previous years.

The principal theme of the artist’s reliefs is that of a reclining figure with guitar, figures with musical instruments, or simply still lifes of musical instruments. Lipchitz made a number of trial designs for the collection of which Harlequin with Mandolin in Oval (1923) was one. The mandolin and the Harlequin refer back to the iconography of Cubism, in an attempt to explore pictorial and sculptural space.

“ What I was searching for essentially was the total integration of the objects, the guitar or other musical instruments, with the figure so that the result would be a figureguitar rather than simply a figure holding a guitar. I wanted to synthesize the curving contours of the figure with the more rigid geometry of the guitar shaft and the strongly angular frame within which the theme is set; in other words, a completely integrated design involving a wide range of curving volumes contrasted with straight lines and rectangular masses.”

— Jacques Lipchitz

Jacques Lipchitz Seated Harlequin with Mandolin, 1926

Work Details bronze, unique 8 ⅝ × 6 ½ × 4⅝ in. / 22 × 16.7 × 12 cm Wilkinson #190a

Jacques Lipchitz Harlequin with Accordion, 1926

Work Details bronze unique, inscribed ‘J. Lipchitz’ 9⅝ × 5¾ × 6 in. / 24.5 × 14.9 × 15.5 cm Wilkinson #190b

Jacques Lipchitz Reclining Figure, 1929

Work Details bronze

inscribed and numbered ‘J. Lipchitz 5/7’ 6 × 8⅜ × 4⅝ in. / 15.2 × 23.9 × 11.8 cm Wilkinson #226

Literature

Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 36, reproduced, p. 70.

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 84, illustrated in black and white, p. 105.

Hammacher, A. M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 105. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 226, reproduced in black and white, pp. 82, 195.

Jacques Lipchitz The Couple, 1929

Work Details bronze inscribed and numbered ‘J. Lipchitz 4/7’ 4⅝ × 8 × 3 ½ in. / 12 × 20.5 × 9 cm Wilkinson #235

Jacques Lipchitz Encounter, 1929

Work Details bronze

inscribed and numbered ‘J. Lipchitz 6/7’ 9 ¾ × 4 ¼ × 3 ½ in. / 24.8 × 10.8 × 8.9 cm

Wilkinson #236

Literature

Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 45, reproduced in black and white, p. 79.

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 91, reproduced in black and white, p. 107.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 236, reproduced in black and white, p. 85.

Jacques Lipchitz Mother and Child, Maquette No. 1, 1929

Work Details bronze inscribed and numbered ‘J. Lipchitz 2/7’ 4 ¼ × 3 ½ × 2 ½ in. / 10.8 × 8.9 × 6.3 cm Wilkinson #240

Jacques Lipchitz Head of a Woman and Hair and Hand, 1930

Work Details bronze

inscribed and numbered ‘J.L. 2/7’ 6 × 5⅝ × 3 ⅛ in. / 15.2 × 14.4 × 8.1 cm Wilkinson #252

Literature

Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 61, reproduced, p. 95.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 252, reproduced in black and white, p. 88.

Jacques

Lipchitz The Harpists, 1930

Work Details bronze

inscribed and numbered ‘J. Lipchitz 7/7’ 21⅜ × 20⅜ × 14¾ in. / 54.5 × 52 × 37.5 cm

Wilkinson #254

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 97, reproduced in black and white, p. 117.

Hammacher, A.M. Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams, 1960. Fig. 38, 53, reproduced in black and white, p. 38, unpaginated.

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 99, reproduced in black and white.

Hope, Henry R. The Sculpture of Jacques Lipchitz. The Plantin Press: Los Angeles, 1954. Reproduced in black and white, p. 58.

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. New York: Crown Publishers, Inc., 1966. Reproduced in black and white, p. 153.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 254, reproduced in black and white, pp. 89, 199.

Jacques Lipchitz Meditation, 1931

Work Details bronze inscribed and numbered ‘J. Lipchitz 2/7’

7¾ × 7 × 6⅜ in. / 20 × 18 × 16.5 cm Wilkinson #261

Literature Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 63, reproduced in black and white, p. 97.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 261, reproduced in black and white, p. 91.

Jacques Lipchitz Woman Leaning on Elbows, 1931

Work Details bronze

inscribed and numbered ‘J. Lipchitz 4/7’

7½ × 6⅝ × 7 in. / 19.1 × 17.1 × 18 cm

Wilkinson #262

Literature

Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 62, reproduced, p. 96.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 262, reproduced in black and white, p. 91.

Jacques Lipchitz Woman Leaning on Hand, 1932

Work Details bronze numbered ‘4/7’ 6 × 7⅛ × 7¾ in. / 15.2 × 18.4 × 19.7 cm Wilkinson #271

Jacques Lipchitz Leaning on Head and Hands, 1932

Work Details bronze numbered ‘4/7’ 5½ × 7⅞ × 4¼ in. / 14 × 20 × 10.8 cm Wilkinson #272

Literature Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Fig. 73, reproduced in black and white, p. 107. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 271, reproduced in black and white, p. 93.

Jacques Lipchitz Woman on Elbow (also known as Woman Leaning on Elbows), 1933

Work Details bronze

inscribed and numbered ‘J. Lipchitz 4/7’

9 × 5⅞ × 6¼ in. / 22.9 × 15 × 15.9 cm Wilkinson #293

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 108, illustrated in black and white, p. 127.

Arnason, H.H. Jacques Lipchitz: Sketches in Bronze. New York: Frederick A. Praeger Publishers, 1969. Cat. no. 83, reproduced, p. 117.

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 110, illustrated in black and white.

Hammacher, A.M. Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams, 1960. Cat. no. 55, reproduced in black and white (unpaginated).

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume One, The Paris Years 1910 – 1940. London: Thames and Hudson, 1996. Catalogue raisonné no. 293, reproduced in black and white, pp. 99, 206.

Jacques

Lipchitz Return of the Child, 1941

Work Details bronze

inscribed and numbered ‘J. Lipchitz 2/7’ 23½ × 36¾ × 11½ in. / 114.3 × 49.5 × 37 cm Wilkinson #347

Literature

Hammacher, A. M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Cat. no. 115, reproduced in black and white pp. 4, 157.

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. New York: Crown Publishers, Inc., 1966. Reproduced in black and white, p. 105.

Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume Two, The American Years, 1941 – 1973. London: Thames and Hudson, 1996. Catalogue raisonné no. 347, reproduced in black and white, p. 26, 123.

RETURN OF THE CHILD 1912

After having been forced to emigrate from his native Lithuania before the First World War, Jacques Lipchitz fled Paris for the United States during WWII. Though optimistic about the prospects of mankind overall, a stirring angst often presents itself through which Lipchitz’s drawings and sculptures are overtly political, autobiographical and at times, address biblical subjects, such as the theme of mother and child.

In 1941, Lipchitz was able to make the journey to the United States with assistance from The Museum of Modern Art in New York, while his dealer Jeanne Bucher took care of his home in Paris and hid his bronze sculptures from the threat of Nazi looters. That same year, he created Return of the Child, described as a response to the harrowing escape from the horror of the fascists to the refuge of the United States.

The idea of escape and rescue in his mother and child themed works held a particular connotation for Lipchitz as described in his 1972 autobiography with H.H. Arnason, My Life in Sculpture. He explained, “I was deeply concerned with the escape of my family and myself but also, I remember that I was frightened about the fate of all my sculptures that I had left behind. As I learned that they were safe, sometimes the child became an image of those sculptures of mine—my children—that had been threatened but finally had survived.”

Installation view from the exhibition Jacques Lipchitz at The Metropolitan Museum of Art, 1972

Jacques

Lipchitz Song of Songs, 1945

Work Details bronze

inscribed and numbered ‘J. Lipchitz 4/7’ 23½ × 36¾ × 11½ in. / 60 × 93.6 × 29.5 cm

Wilkinson #390

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. no. 152, reproduced in black and white, p. 169.

Hammacher, A.M. Jacques Lipchitz. Harry N. Abrams, New York: 1975. Cat. no. 129, reproduced in black and white.

Hammacher, A.M. Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams Publishers, 1960. Cat. no. 50, 90, reproduced in black and white, p. 56.

Hope, Henry R. The Sculpture of Jacques Lipchitz. The Plantin Press: Los Angeles, 1954. Reproduced in black and white, p. 80.

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. Crown Publishers: New York, 1966. Reproduced in black and white, p. 183.

Jacques Lipchitz Hagar I, 1948

Work Details bronze

inscribed and numbered ‘J. Lipchitz 5/7’ 31¼ × 35¾ × 18 in. / 79.4 × 91.1 × 45.7 cm

Wilkinson #438

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 166, illustrated in black and white, p. 185.

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Cat. no. 134, reproduced in black and white, p. 176.

Hammacher, A.M., Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams Publishers, 1960. Cat. no. 86, reproduced in black and white (unpaginated).

Hope, Henry R. The Sculpture of Jacques Lipchitz. The Plantin Press: Los Angeles, 1954. Reproduced in black and white, p. 81.

Jacques

Lipchitz Mother and Child, 1949

Work Details bronze

inscribed and numbered ‘J. Lipchitz 2/7’ 55⅝ × 32¼ × 31⅜ in. / 141.5 × 82 × 80 cm

Wilkinson #444

Literature

Arnason, H.H., and Jacques Lipchitz. My Life in Sculpture. New York: The Viking Press, 1972. Fig. 165, reproduced in black and white, p. 182.

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 137.

Hammacher, A.M. Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams, 1960. Cat. no. 88, reproduced in black and white (unpaginated).

Van Bork, Bert. Jacques Lipchitz: The Artist at Work. New York: Crown Publishers, Inc., 1966. Reproduced in black and white, pp. 108 – 110, 112.

Jacques Lipchitz Mother and Child II, 1949

Work Details bronze

inscribed and numbered ‘J. Lipchitz 4/7’ 15⅝ × 10⅝ × 9⅝in. / 40 × 27.3 × 24.5 cm

Wilkinson #442

Literature

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 136. Hammacher, A.M., Jacques Lipchitz: His Sculpture. New York: Harry N. Abrams, 1960. Cat. no. 55, 84, reproduced in black and white, p. 59.

Van Bork, Bert. Lipchitz: The Artist at Work. New York: Crown Publishers, Inc., 1966. Reproduced in black and white, p. 106 (listed as Mother and Child, 1948).

Jacques Lipchitz Exotic Dancer, 1955 – 56

Work Details bronze unique, inscribed ‘J. Lipchitz 9⅜ × 8 × 4¾ in. / 24.1 × 20.3 × 12.1 cm Wilkinson #522

Literature Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume Two, The American Years, 1941 – 1973. London: Thames and Hudson, 1996. Catalogue raisonné no. 522, reproduced in black and white, pp. 66, 171.

Jacques Lipchitz Galapagos I, 1958

Work Details bronze unique, inscribed ‘J. Lipchitz’ 18⅞ × 7⅝ × 11¾ in. / 48 × 19.5 × 30 cm Wilkinson #558

Jacques Lipchitz Galapagos III, 1958

Work Details bronze unique, inscribed ‘J. Lipchitz’ 17⅛ × 12¾ × 9⅝ in. / 43.5 × 32.4 × 24.5 cm Wilkinson #560

Jacques Lipchitz L’emmelé, 1970 – 71

Work Details bronze inscribed and numbered ‘J. Lipchitz 3/7’ 17⅛ × 12¾ × 10 in. / 43.5 × 32.4 × 25.4 cm Wilkinson #714

Jacques Lipchitz Pierrot, 1970 – 71

Work Details bronze inscribed and numbered ‘J. Lipchitz 2/7’ 15 × 11½ × 9¾ in. / 38.1 × 29.5 × 25 cm Wilkinson #715

Jacques Lipchitz The Last Embrace, 1970 – 71

Work Details bronze inscribed and numbered ‘J. Lipchitz 2/7’ 30 × 39¼ × 17½ in. / 76.2 × 100 × 44.5 cm Wilkinson #711

Literature

Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 172, reproduced in black and white, p. 209. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume Two, The American Years, 1941 – 1973. London: Thames and Hudson, 1996. Catalogue raisonné no. 711, reproduced in black and white, pp. 112, 227.

101

Jacques Lipchitz La Belle III, 1971

Work Details bronze

unique, inscribed ‘J. Lipchitz’ 12⅛ × 4¾ × 5⅛ in. / 30.8 × 12.2 × 13.3 cm Wilkinson #726

Literature Hammacher, A.M. Jacques Lipchitz. New York: Harry N. Abrams, 1975. Fig. no. 172, reproduced in black and white, p. 209. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Volume Two, The American Years, 1941 – 1973. London: Thames and Hudson, 1996. Catalogue raisonné no. 726, reproduced in black and white, pp. 116, 238.

103

Jacques Lipchitz La Belle V, 1971

Work Details bronze unique, inscribed ‘J. Lipchitz’ 11½ × 4⅞ × 5⅝ in. / 29.5 × 12.5 × 14.5 cm Wilkinson #728

105

Jacques Lipchitz The Erotic Dance, 1971

Work Details bronze

unique, inscribed ‘J. Lipchitz’ 17¾ × 8⅝ × 5¼ in. / 45.1 × 22.2 × 13.5 cm Wilkinson #733

107

Jacques Lipchitz La Sauvageonne, 1971

Work Details bronze signed ‘J. Lipchitz’, unnumbered 14⅜ × 5 × 5¼ in. / 36.8 × 13 × 13.5 cm Wilkinson #735

109

Jacques Lipchitz Sketch for Our Tree of Life VII, 1970 – 72

Work Details bronze inscribed and numbered ‘J. Lipchitz 1/7’ 24⅝ × 10⅝ × 8½ in. / 55 × 27 × 21.6 cm Wilkinson #744

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WORKS ON PAPER

Lipchitz Woman in Profile, c. 1910 – 12

Work Details pencil on paper signed ‘Lipchitz’ on lower left recto 16⅛ × 10 in. / 41 × 25.4 cm

117

Jacques

Work Details pencil on paper signed ‘Lipchitz’ on upper right recto and stamped ‘Collection J.L. Heitschel’ 13 × 9⅞ in. / 33 × 25.1 cm

119

Jacques Lipchitz Bather (Standing Figure), 1912

Work Details pencil on paper signed ‘Lipchitz’ on upper right recto 6⅝ × 4¾ in. / 17.1 × 12.4 cm

121

Jacques Lipchitz La Serveuse, 1915

Work Details

crayon and pencil on paper signed and dated ‘J. Lipchitz, 1915’ on upper left recto 15 × 10⅛ in. / 38.1 × 26 cm

123

Jacques Lipchitz Mother and Child (Study for a Standing Woman), 1915

Work Details pencil on paper signed ‘Lipchitz’ on upper right recto and stamped ‘Collection J.L. Heitschel’ 9⅛ × 7 in. / 23.2 × 17.8 cm

125

Jacques Lipchitz Woman and Guitar (Study for a Sculpture), 1926

Work Details charcoal on paper signed ‘Lipchitz’ on lower right recto 10⅛ × 8¼ in. / 26 × 21 cm

127

Jacques Lipchitz Study for a Transparency (Harlequin), 1926

Work Details ink on beige paper signed ‘Lipchitz’ on lower left recto and stamped ‘Collection J.L. Heitschel’ 12⅝ × 9¾ in. / 32.1 × 24.8 cm

129

Jacques Lipchitz Hair and Hands (Study for “Head” circa 1932 – 33), 1930

Work Details charcoal on paper signed ‘Lipchitz’ on lower left recto 12½ × 9⅜ in. / 31.8 × 24.1 cm

131

Jacques Lipchitz Head and Hair (Study for “Head” circa 1932 – 33), 1930

Work Details ink on paper signed ‘Lipchitz’ on lower left recto and stamped ‘Collection J.L. Heitschel’ 12½ × 9⅜ in. / 31.8 × 24.1 cm

133

Jacques Lipchitz Head & Hands (Study for “Head” circa 1932 – 33), 1930

MUSEUMS AND PUBLIC COLLECTIONS

Albright-Knox Art Gallery, Buffalo, New York

Art Gallery of Ontario, Toronto, Ontario, Canada

Art Institute of Chicago, Chicago, Illinois

Baltimore Museum of Art, Baltimore, Maryland

Barnes Foundation, Philadelphia, Pennsylvania

Birmingham Museum of Art, Birmingham, Alabama

Broadgate, Broadgate Square, London, England

Brooklyn Museum, Brooklyn, New York

Bunkamura Museum of Art, Tokyo, Japan

Carnegie Museum of Art, Pittsburgh, Pennsylvania

Cleveland Museum of Art, Cleveland, Ohio

Contemporary Arts Museum, Houston, Texas

Courtauld Institute of Art, London, England

Dallas Museum of Art, Dallas, Texas

Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts

Donald M. Kendall PepsiCo Sculpture Gardens, Purchase, New York

Fine Arts Museums of San Francisco, San Francisco, California

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Galleria Nazionale d’Arte Moderna, Rome, Italy

Hakone Open-Air Museum, Hakone-machi, Japan

Hamburger Kunsthalle, Hamburg, Germany

Helena Rubinstein Pavilion for Contemporary Art, Tel Aviv, Israel

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

Honolulu Academy of Arts, Honolulu, Hawaii

Institut Valencià d’Art Modern (IVAM), Valencia, Spain

Israel Museum and Billy Rose Art Garden, Jerusalem, Israel

Kemper Museum of Contemporary Art, Kansas City, Missouri

Kröller-Müller Museum, Otterlo, The Netherlands

Kunsthalle Mannheim, Mannheim, Germany

Kunsthaus Zürich, Zürich, Switzerland

Kunstmuseum Basel, Basel Switzerland

Kunstmuseum Bern, Bern, Switzerland

Kunstmuseum Den Haag, The Hague, The Netherlands

Kunstmuseum Winterthur, Winterthur, Switzerland

Lille Métropole Musée d’Art Moderne, Villeneuve a’Ascq, France

Los Angeles County Museum of Art, Los Angeles, California

Metropolitan Museum of Art, New York, New York

Milwaukee Art Museum, Milwaukee, Wisconsin

Minneapolis Institute of Art, Minneapolis, Minnesota

Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, New York

Montréal Museum of Fine Arts, Montreal, Quebec, Canada

Musée d’Art et d’Histoire du Judaïsme, Paris, France

Musée d’Art Moderne de la Ville de Paris, Paris, France

Musée d’Art Moderne et Contemporain, Strasbourg, France

Musée des Beaux-Arts, Nancy, France

Musée National d’Art Moderne, Centre George Pompidou, Paris, France

136

Museo Botero, Bogotá, Colombia

Museo de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil

Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Museum Boymans Van Beuningen, Rotterdam, The Netherlands Museum Folkwang, Essen, Germany

Museum Frieder Burda, Baden-Baden, Germany

Museum of Fine Arts, Boston, Massachusetts

Museum of Fine Arts, Houston, Texas

Museum of Modern Art, New York, New York

National Gallery of Art, Washington, D.C.

National Gallery of Canada, Ottawa, Ontario, Canada

Nelson-Atkins Museum of Art, Kansas City, Missouri

New Orleans Museum of Art, New Orleans, Louisiana

Norton Museum of Art, West Palm Beach, Florida

Norton Simon Museum, Pasadena, California

Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, Venice, Italy

Philadelphia Museum of Art, Philadelphia, Pennsylvania Phillips Collection, Washington, D.C.

Portland Museum of Art, Portland, Oregon

Princeton University Art Museum, Princeton, New Jersey

Queensland Art Gallery, Brisbane, Australia Saarland Museum, Saarbrücken, Germany

Saint Louis Art Museum, St. Louis, Missouri

San Francisco Museum of Modern Art, San Francisco, California

Santa Barbara Museum of Art, Santa Barbara, California

Scottish National Gallery of Modern Art, Edinburgh, Scotland

Smith College Museum of Art, Northampton, Massachusetts

Solomon R. Guggenheim Museum, New York, New York Sprengel Museum, Hannover, Germany

Staatliche Kunsthalle, Karlsruhe, Germany

Staatsgalerie Stuttgart, Stuttgart, Germany

Stedelijk Museum, Amsterdam, The Netherlands

Tate Britain, London, England

Tate Liverpool, Liverpool, England

Tate Modern, London, England

Tel Aviv Museum of Art, Tel Aviv, Israel

State Hermitage Museum, St. Peterburg, Russia

Van Abbemuseum, Eindhoven, The Netherlands

Tokushima Modern Art Museum, Tokushima, Japan

Tweed Museum of Art, University of Minnesota Duluth, Duluth, Minnesota

Hammer Museum, University of California Los Angeles, Los Angeles, California

Virginia Museum of Fine Arts, Richmond, Virginia

Von der Heydt Museum, Wuppertal, Germany

Walker Art Center, Minneapolis, Minnesota

Whitney Museum of American Art, New York, New York Worcester Art Museum, Worcester, Massachusetts

137

Published on the occasion of the exhibition: Jacques Lipchitz and the School of Paris

Marlborough Fine Art, London

November 10 – January 7, 2023

Design and Layout: Mariah Tarvainen

Editors: Marissa Moxley and Lukas Hall

All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including information storage and retrieval systems— except by a reviewer who may quote brief passages in a review to be printed in a magazine or newspaper—without permission in writing from the publisher.

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