Word: lipchitz
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...sturdy Icelandic Viking named Thorfinn Karlsefni; after him came a procession of American types-a Ploughman, an Immigrant, a Slave, a Miner. Finally in 1950 the city decided to branch out. Two of the sculptors asked to do works for the park: the late Sir Jacob Epstein and Jacques Lipchitz...
...Iceman Cometh. Barnes quarreled with Bernard Berenson, Bertrand Russell. Jacques Lipchitz-the greater the adversary, the rougher the battle. His most venomous attacks, though, were reserved for women. Marriage, Barnes often said, was just a cheap and wholesome substitute for prostitution. He delighted in bullying female employees into tears, embarrassed one young secretary by dictating letters to her from his steam bath, interspersing his correspondence with commands to fetch towels and turn on the shower for him. When Edith Powell, art critic for the Philadelphia Public Ledger, had some mild reservations about the Soutines in a rare public exhibit...
...Vati can," exclaimed one painter, staring up at the great dome. "You would need a piece of sculpture the size of the old Athena in the Parthenon for this place," worried Sculptor William Zorach. "Even when he made a mistake, he made a big one," opined Sculptor Jacques Lipchitz. But, looking across the well at the opening show of 134 paintings and sculptures selected from the 2,500-odd works in the Guggenheim collection, most were forced to concede that the great curved ramps provided the most dramatic setting abstract art has ever...
...Jacques Lipchitz, 68, did for sculpture what the cubists did for painting: he broke up forms into multifaceted geometry. But the cubist method seemed to him to stop, ultimately, at crystallization. Accordingly, he decided "from the crystal to build a man, a woman, a child." This tension between geometric and biological forms is what has most distinguished his work ever since. It makes him one of the most admired and least understood sculptors, for Lipchitz' geometric parings and biomorphic bulgings combine to give a brutal and confused effect, like that of a life-and-death struggle in a gunny...
...what the primitive artists were after: not beauty so much as life. In fact, says Elisofon, some of the objects "were believed to be alive by their makers. An important belief of the Polynesians was in mana, an impersonal supernatural power. Sculptures contained mana." Such modern sculptors as Lipchitz, Gonzalez, David Smith and Brancusi are not far from this idea, and for mana they, too, sacrifice resemblance. "The primitive artist and the modern one," says Elisofon, "both produce more of what they feel than of what they...