Word: nadelmans
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
When a man named Elie Nadelman died two years ago, his passing was barely noted. Last week Manhattan's Museum of Modern Art opened a retrospective show that went a long way to prove that Nadelman, who made two splashy successes, then tried to hide, had been one of the best sculptors the U.S. had seen...
...Nadelman had his first show in a Paris gallery in 1909. His command of classic sculpture caused so much talk that Matisse put up a sign in his studio, forbidding discussion of Nadelman. The sculptor was then 27, a shy, handsome Pole in a turtleneck sweater who stayed away from the cafes, almost never left his studio except for long walks at night...
...Reciprocal Curve. It was not Nadelman's academic skill that started all the talk. Right alongside of his classic nudes he was showing other figures geometrically distorted in a way that foreshadowed cubism. Describing them in his Journal, Novelist André Gide wrote that "Nadelman draws with a compass and sculpts by assembling rhomboids. He has discovered that every curve of the human body is accompanied by a reciprocal curve which opposes it and corresponds to it. The harmony which results from these balancings smacks of the theorem." Gide had put his finger on one undeniable weakness of Nadelman...
...Stein is shown with a face rugged, calm, confident above a stolid mass which scarcely defines itself as a body. There are many other works by individual chisellers, Hunt Diederich, Daniel Chester French, the late Emil Fuchs, John Gregory, Malvina Hoffman, Leo Lentelli, Henry Augustus Lukeman, Edward McCartan, Eli Nadelman, the Piccirilli brothers, Lorado Taft, William Zorach. . . . If the modern U. S. lacks the glory of a sculptural tradition as deeply embedded and fertile as the Classic or Gothic, it does have a number of sincere experimentalists who keep the art from stagnation, who seek the expression of modern contour...
...past fortnight, Sculptor Nadelman has held an exhibition at the Scott and Fowles Gallery, Manhattan. The critics who visited it were prepared for the famed, familiar ribaldries of this satirist in clay-his grotesquely vivacious figures fully clothed, often painted as well, postured in the more ridiculous attitudes pf contemporary life. These, to be sure, were there, but the prudent, hurrying over them as if they had been jokes in Holy Writ, discovered, in addition, many heads of classic purity, some exquisite busts of children, a big torso in the antique manner. Upon these things lay the lustre...