Word: epsteins
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ADAM, Jacob Epstein's recent statue, was subjected to a barrage of mixed criticism when first presented before the public. The piece shocked many people because of its virile display of masculine strength which was convicted by the sculptor in no uncertain artistic terms...
...difficult for anyone having even a vague knowledge of Epstein's work to deny his excellence as a sculptor. Such creations as DAY and NIGHT, GENESIS and ORIOL, ROSS show a new and invigorating vision completely free from academic stodginess. In many respects Epstein occupies the same relative position in his medium of expression, that of stone, as James Joyce does in the world of the novel, and his work is as difficult to grasp as Joyce's. To the religious person, the ADAM looms large as a distasteful desecration of the scriptures; some people gaze in silent admiration; others...
...force of creative distortion would be frozen by the ice of descriptive wording. And in order to arrive at a fair evaluation of the ADAM'S worth, it would be necessary to devote many finely printed pages to a discussion of the statue, a discussion which would include Epstein's purpose, the complexity of various contemporary movements in sculpture, and a searching investigation of many other works of art which have been similarly received when first exhibited. Still the concentrated strength embodied in ADAM is penetrating enough to cause even the most aesthetically lethargic individual in the world...
...becoming closely intertwined with the earth upon which we walk and the lives which we lead. Consequently, since art is in the process of adopting us, it is only fair that it adopt, to some extent, the ethical pattern within which we exist. Despite the fact that Epstein's interpretation of ADAM does not fit our own pattern of ethics, it still remains a solid contribution to the advancement of culture because of its thought-provoking nature. Art regains health and circulation after just such brisk intellectual rubdowns...
...sculpture had been removed to three large country houses, locations unannounced. Already moved were 140 canvases of the late great pre-Impressionist Joseph Mallord William Turner. On the floor near the ladies' lavatory, still waiting their turn for evacuation, were the sculptures of very-much alive Jacob Epstein...