Bleu et violet sur fond noir

Dimensions: 170 x 213 cm – 67 x 84 in
Material: wool
Artist signature: yes
Manufacture: Atelier Pinton, Felletin France
Condition: perfect
Edition : 5/6

Ossip Zadkine “Bleu et violet sur fond noir” Tapestry
Ossip Zadkine “Bleu et violet sur fond noir” tapestry is a stunning piece. This artwork is a powerful and evocative expression of the artist’s emotions.

The tapestry is made of wool and measures 67 x 84 inches. It is dominated by a field of blue and violet, with a few black accents. The overall effect is one of movement and energy. The swirling colors and abstract shapes seem to capture the artist’s inner turmoil.

The tapestry is a powerful reminder of the human capacity for both beauty and destruction. It is a work that is sure to leave a lasting impression on anyone who sees it.

Ossip Zadkine (1890-1967) was a Russian-born French artist who was a pioneer of modern sculpture. He was known for his abstract and expressive forms, which often reflected the emotional and psychological turmoil of his time. Born in Vitebsk, Russia, Zadkine moved to Paris in 1909 to study art. He quickly became involved in the avant-garde scene and was influenced by the work of artists such as Pablo Picasso and Georges Braque.

Zadkine’s early sculptures were characterized by their geometric forms and their use of negative space. However, he gradually began to move away from these abstract forms and towards a more expressive style. This shift was in part due to the outbreak of World War I, which had a profound impact on Zadkine. He was deeply affected by the violence and destruction of the war, and his work began to reflect these experiences.

In the 1920s, Zadkine developed a mature style that was characterized by its use of elongated forms and its rough, unfinished surfaces. His sculptures often had a sense of movement and energy, and they often evoked feelings of anger, despair, and anxiety. Some of his best-known works from this period include “The Destroyed City” (1923) and “The Prisoner” (1927).

Zadkine’s work continued to evolve in the years leading up to World War II. He began to experiment with new materials, such as wood and stone, and he also began to incorporate more figurative elements into his work. However, his sculptures remained deeply expressive and often reflected the dark mood of the times.