1888, Tsaré-Constantinovska (Donetsk Oblast), Ukraine
- 1968, Tel Aviv, Israel
Seated Woman, 1957
Original Hand-Signed Ink Drawing - Dated 1957
Artist Name: Chana Orloff Title: Seated woman, 1957 Signature Description: Hand-signed, dedicated in French and dated "1957" lower left Technique: Ink on paper Image Size: 47 x 27 cm / 18.5" x 10.63" inch Frame: The piece is nicely matted and framed Condition: Good condition with no tears, rips, holes, wrinkles, repairs, paint peelings or losses, light stain at the top left consistent with natural aging and use.
Artist's Biography:
Chana
Orloff (1888-1968) was a Ukraine-born Israeli - French figurative sculptor.
Education
Russian Academy,
Montparnasse, 1911
École Nationale Supérieure des Arts Décoratifs, Paris, 1929
Awards and Prizes
Knight of Legion of Honor,
Paris, 1925
Environmental Sculptures
Kibbutz Ein Gev, Israel:
Mother and Child, 1949
Ramat Gan: Monument to Dov Gruner, 1953-54
Jerusalem, The International Convention Center – Binyanei Hauma: Dove of Peace, 1965.
Biography
Chana Orloff was born in Ukraine. She immigrated to Ottoman Palestine in 1905
and settled in Jaffa, where she found a job as a cutter and seamstress. Zvi
Nishri (Orloff), the pioneer in physical education in Israel, was her brother.
She joined Hapoel Hatzair workers
movement. After five years in the country, she was offered a teaching position
in cutting and dressmaking at Gymnasia Herzliya.
She went to Paris to study fashion but chose art instead, enrolled in sculpture
classes at the Académie Russe in Montparnasse.
In 1916, she married Ary Justman, a Warsaw-born writer and poet. The couple had
a son, but Ary died of influenza in the epidemic of 1919.
When the Nazis invaded Paris, Orloff fled to Switzerland with her son and the
Jewish painter Georges Kars.
In February 1945, Kars committed suicide in Geneva, after which Orloff returned
to Paris with her son, to find that her house had been ransacked and the
sculptures in her studio destroyed.
Orloff died in Israel on December
16, 1968.
Artistic career
In Paris, Orloff became friendly
with other young Jewish artists, among them Marc Chagall, Jacques Lipchitz,
Amedeo Modigliani, Pascin, Chaim Soutine, and Ossip Zadkine. In 1913, she
exhibited in the Salon d'Automne. After the establishment of the State of
Israel, Orloff began spending an increasing amount of time there. The Tel Aviv
Museum of Art held an exhibition of 37 of her sculptures in 1949. She remained
in Israel for about a year in order to complete a sculpture of David
Ben-Gurion, The Hero Monument to the defenders of Ein Gev and The Motherhood
Monument in memory of Chana Tuckman who died during the Israeli War of
Independence. In addition to monuments, Orloff sculpted portraits of Israeli
Prime Minister David Ben-Gurion and future Prime Minister Levi Eshkol; the
architects Pierre Chareau, and Auguste Perret; painters Henri Matisse, Amedeo
Modigliani, Pablo Picasso, and Per Krohg; and the poets Hayyim Nahman Bialik,
and Pierre Mac Orlan.
Chana Orloff was a Ukrainian-born Israeli – French Jewish figurative sculptor,
one of the many Jewish artists who flocked to Paris in the early twentieth
century, but also a member of the pioneer art community in Palestine under the
British mandate. Orloff’s preferred medium was wood, but she also worked in
stone, marble, bronze and cement. She is best known for her sculpted portraits
of famous people, most notably those from the art world in Paris in the early
twentieth century. Her subjects included the painters, Picasso, Matisse, and
Modigliani, the poets, Fleg, and Mac Orlan, the architects, Chareau and Auguste
Perret, and future Israeli Prime Minister Levy Eshkol. Orloff also enjoyed
sculpting animals, especially birds, ordinary men and women, and women as
mothers.
Orloff was born in 1888 in Ukraine,
where Jews suffered severe persecution, and pogroms were a reminder of the
fragility of their situation.
She and her family immigrated to
Palestine in 1905 when Orloff was eighteen. She was already familiar with
Hebrew since she had learned the language in a “reformed cheder” in Ukraine,
and she found a job as a cutter and seamstress in Jaffa.
Orloff also joined Hapoel Hatzair,
“The Young Worker,” and helped in guiding and instructing young girls who had
just arrived in Palestine.
After five years in Israel, Chana
Orloff was offered a job teaching cutting and dressmaking at a Herzliyah high
school and decided to go to Paris to get certified in those subjects.
Once in Paris in 1910, Orloff
discovered her passion for art and never returned to teach cutting and
dressmaking. At the time, Paris was considered the art capital of the world and
the city attracted many foreign artists, including many Jewish ones, who Orloff
came to know in Montparnasse.
Orloff studied sculpture at the
Russian Academy in Montparnasse and became friendly with Modigliani, Soutine,
Pascin, Zadkine, Lipchitz, and Chagall.
In 1913, heavily influenced by
cubism, Orloff took part in the Salon d’Automne and exhibited her work several
times in Paris. The same year, she returned to Palestine for a brief visit with
her family, but soon returned to Paris.
Over the next few years, Orloff
matured quickly as a sculptor in Paris and her work was soon being displayed at
important art exhibitions in Paris, Amsterdam and New York.
In 1916, Orloff married Ary Justman,
a young Warsaw-born writer and poet. Together they published a book of
Justman’s poetry accompanied by photographs of Orloff’s first sculptures.
Justman died of the post-World War I influenza epidemic just three years after
his marriage to Orloff, who then resigned to devote herself entirely to art and
to raising her son.
After the First World War, she
showed at the Salon des Independants and the Salon des Tuileries and began
receiving commissions for portraits, a genre that she loved. She created over
three hundred busts in the course of her career. In 1925, she became a French
citizen and was made a Chevalier of the Legion of Honor, and in 1927, Gallimard
published the first monograph on her work, written by E. Des Courières. This
same year, she moved her atelier to the villa Seurat, near the Parc Montsouris.
By the 1920s, Orloff’s reputation was already well established, especially for
her portraits.
In 1928, Orloff’s sculptures were
exhibited in the United States and in 1937 an entire room was devoted to her
works in the Petit Palais in Paris.
The early twentieth century saw the
beginning of sculpture in Palestine. At the time, artists in Palestine
struggled in a region devoid of suitable conditions for creative work and a
distinct local sculpture culture was yet to materialize. For these reasons,
Palestinian artists were very mobile, often traveling to world art centers. As
such, Palestinian artists not only had their own distinct Palestinian artist
identity, but also identified with Jewish artists from around the world, also
traveling to be part of world art centers. While Orloff settled in Paris, she
maintained a constant link with the land of Israel.
Throughout the 1920s and 1930s,
Orloff frequently received visits from Palestinian artists, Zionist leaders,
students, and Palestinian art lovers in her Paris home.
The first exhibition of Orloff’s work in Palestine was in the spring of 1935 at
the Tel Aviv Museum, which had been opened in Dizengoff’s house.
It was in Orloff’s home in Paris,
while the Mayor and his wife were visiting, that the idea to convert the house
into a museum was originally envisioned. The exhibition included portraits of
Hava Chabor, Reuven Rubin, the Jewish painter Reisin, Shalom Asch, Bialik, as
well as several others. Following the exhibition, it was decided that the
sculpture of Bialik should remain in Palestine, and thus, it escaped the fate
of Orloff’s other sculptures that were destroyed in her studio during the
German occupation of France during World War II. The sculpture is now on
permanent display at the Bialik House in Tel Aviv.
Also in 1935, Orloff’s works were
exhibited at the Steimatsky Gallery in Jerusalem. The exhibition was well
received and attracted a record number of visitors.
During the Second World War, she
remained in Paris, where she worked on small pieces that she called “pocket
sculptures,” but in December of 1942, she was warned that she was about to be
arrested, so fled Paris for Switzerland with her son and the Jewish painter
Georges Kars, where she created fifty sculptures.
In 1945, Kars committed suicide and
Orloff returned to her home in Paris with her son. Her house had been ransacked
and the sculptures in her studio destroyed.
After sculpting “The Return” and many drawings depicting a person coming back
“from there,” Orloff went to the United States where she worked and held
exhibitions around the country.
She returned to Paris in 1948.
By the time she was in her forties, Chana Orloff had achieved an international reputation,
and her work was being shown in Amsterdam, Chicago, New York, Oslo, and San
Francisco.
Following Israel’s independence,
Orloff spent an increasing amount of time in Israel.
In 1949 the Tel Aviv Museum held an
exhibition of 37 of her sculptures. She remained in Israel that year to
complete a sculpture of David Ben-Gurion. Orloff also completed the portrait of
“The Hero,” a monument to the national resurgence and agreed to design a
monument for the defenders of Ein-Gev, eventually sculpting the “Motherhood”
monument, in memory of Chana Tuckman, who had fallen during the War of
Independence.
While visiting Israel in 1955,
Orloff received another official commission to create a monument to the Hebrew
Working Woman, to be placed in front of the Histadrut building in Tel Aviv. She
created many different versions of the figure, including “The Bearer,” “The
Sower,” “The Gatherer,” and “The Mower,” for the committee to choose from, and
eventually “Woman with a Basket” was chosen.
Over the following decade, Orloff’s
works were exhibited numerous times throughout Israel.
In 1968, Orloff fell ill when she
returned to Israel to organize a retrospective exhibition at the Tel Aviv
Museum.
She was taken to Tel-Hashomer
Hospital, where she passed away on December 16.
Orloff was buried in Israel at the Kiryat Shaul
cemetery.
Permanent
Collections
France
Arras
Musée d'Arras
Boulogne-billancourt
Musée des années 30
Cambrai Musée municipal
Giverny Musée Américain
Grenoble Musée de Grenoble
Mont de Marsan Musée Despiau-Wlerick
Paris
Musée National d'Art Moderne (Pompidou)
Musée d'Art et d'Histoire du Judaïsme
Musée des Arts Décoratifs
Rodez Musée de Rodez
Saint-Denis Musée de Saint-Denis
Israël
Ein
Harod - Miskan léomanut
Haifa
Museum of Modern Art
Hertzélia
- Musée d'Hertzélia
Jerusalem
Israel Museum
Beit Horovitz
Ticho
House
Tel Aviv
Tel Aviv Art Museum
Reuven Rubin Museum
Bialik House
Ayala Zacks House, The Open University
Tel Hashomer Hospital
USA
Chicago
- The Art Institut of Chicago
New-York
- Jewish Museum
Brooklyn
Art Museum
Philadelphia
Museum of Art
San
Diego - Fine Art Galery
South
Adly Mass. - Mount Holyoke College Art Museum
Standford
University
Waltham,
Mass. - Rose Art museum
Europe
Oslo
- Nasjonalgalleriet
Rotterdam
- Musée Boymans-Van Beuningem
Monuments
France
Beauvallon - Emile Bernheim
Cimetière
de Bagneux - Stèle funéraire à G.G.
Cimetière
des Batignoles - Monument funéraire
Cimetière
de Montparnasse - La paix ( tombe de E.J. )
Cimetière
de Montparnasse - Les trois oiseaux( tombe de D.T. )
Israël Cimetière de Kiriat Shaul - Monument funéraire de Chana Orloff
Institut
Wingate - David Nishri, Zwi Nishri
Kfar
Havradim - Femme au panier
Kiboutz
Ein Guev - Maternité Ein Guev
Kiboutz
Rivivim - Oiseaux
Kiboutz
Beit Oren - Oiseau bléssé
Jérusalem
Beit Hanassi - La semeuse, La glaneuse
Ramat
Gan - Les deux Lions
Additional Information:
Chana
Orloff never had teachers or students, yet she occupies a major place in the
history of art. Experimenting with all kinds of materials such as terracotta,
wood, bronze, concrete and plaster, she established herself as one of the
greatest sculptors and portraitists of her century.
CHILDHOOD, FROM UKRAINE TO PALESTINE
Chana Orloff
was born on July 12 in Tsaré-Constantinovska, a small town in Ukraine. She is
the eighth in a family of nine children. Her mother and grandmother were
midwives and her father was a teacher, then, when Jews were banned from
practicing this profession, he became a trader. In 1905 the family emigrated to
Palestine, her father cultivated the land and Chana helped her parents by doing
sewing work.
PARIS AND THE DISCOVERY OF ART
In 1910, Chana
arrived in Paris and became an apprentice in the Paquin haute couture house.
The following year, she ranked second in the admission exam to the École des
arts décoratifs and attended the Marie-Vassilief Academy. Here she met many
artists including Picasso, Foujita, Apollinaire, Modigliani… and created her
first sculpture, a portrait of her grandmother, based on a photo.
ARTIST, WIFE AND MOTHER
In 1916 Chana
married Ary Justman, a Polish poet, and exhibited in that period alongside
Matisse, Rouault and Van Dongen. She participates with Ary in the avant-garde
magazine SIC that Pierre Albert-Birot has just created.
Here Ary Justman’s “Poetic Thoughts” appear, accompanied by her reproductions
of sculptures. Two years after the marriage, Elie, nicknamed Didi, was born. In
1919 Ary, who joined the American Red Cross, died of the Spanish flu leaving
Chana and their son alone in Paris.
THE PORTRAITIST OF AN ERA
In the early
1920s, Chana Orloff became the portraitist of the Parisian elite. Portraiture
will remain one of his favorite themes. In 1925, she obtained both French
nationality and the Legion of Honor and became a member of the Salon d'Automne.
She exhibited in Paris and Amsterdam while having her residence and atelier
built by Auguste Perret, Villa Seurat in Paris.
She left in
1928 for her first trip to the United States, where she exhibited in the
avant-garde gallery Weyhe Gallery in New York. This particular exhibition will
be picked up by many galleries from the East Coast to the West Coast.
In 1930, Meïr
Dizengoff, first mayor of Tel Aviv, visited her and asked her to help create
the Tel Aviv Museum. During the four years that the museum's construction
lasted, she produced numerous portraits of personalities from the world of the
arts. Her first exhibition at the Tel Aviv Museum in 1935 was a great success.
In 1937, she participated in the exhibition “Les Maîtres de l’art indépendant”
at the Petit Palais with around thirty sculptures.
WAR, SCULPTURE AND RESILIENCE
After the
exodus, returning to Paris under the Occupation, Chana Orloff leads a difficult
life and although constantly in danger continues to work. She creates a series
of small pieces that she calls « pocket sculptures » On the eve of the Vél'
d'Hiv roundup she was warned by two French friends – her founder the famous
Rudier, who saved many of her works, and a senior police official – that her
arrest was imminent. She left her studio and went with her son to Grenoble then
to Lyon where they met the painter Georges Kars. Together they will manage to
cross the Franco-Swiss border.
In 1945, she
exhibited her works created in Switzerland at the Georges-Moos gallery in
Geneva; the criticism is enthusiastic. She returned to Paris at the Liberation
and found her atelier ransacked and pillaged by the Nazis. She gets back to
work. A year later, she exhibited around thirty sculptures and a series of
drawings at the Galerie de France. The sculpture entitled "The
Return" expresses the ordeal of a deportee and shocks critics. Questioned
by journalists about her life in Switzerland, Chana Orloff especially mentions
that of Georges Kars. Unable after the war to resume a normal life the painter
committed suicide the day after the Liberation jumping from the second floor of
the Geneva hotel where Chana Orloff had installed him the day before.
SUCCÈS INTERNATIONAL
The period from
1946 to 1949 is that of major retrospectives and the definitive consecration of
Chana Orloff. After Paris, the artist exhibited in Amsterdam, Oslo, New York,
Chicago, San Francisco.
« What a joy, writes the poet Yvan Goll, to find again in New York, at the Wildenstein gallery, this
powerful artist whose face and work are so familiar to the people of
Montparnasse... The works that she presents to us at Wildenstein attest that
“her grip" has lost none of its vigor and masculine strength, but a
profound humanity envelops her characters in loving tenderness... »
ISRAEL AS HER LAST ATELIER
Chana arrived in Israel in 1949 after a triumphant tour
in Europe and the United States. She exhibits at the Tel Aviv Museum, Jerusalem
and Haifa. She worked in the country and created, among other things, the
portrait of David Ben-Gurion as well as the Maternity erected in Ein Guev in
memory of Chana Tuchman Alderstein, a member of this kibbutz who fell during
the war of liberation. During the following ten years, alongside her studio
sculpture, she executed numerous monuments linked to the history of the State
of Israel.
In 1961 the major retrospective took place at the Tel
Aviv Museum, the Bezalel Museum in Jerusalem, the Haifa Museum of Modern Art
and the Ein Harod Art Museum. After Israel, the exhibition is presented at the
Granoff gallery, Place Beauvau in Paris. In 1965 she exhibited at the Herzelia
Museum and an important bronze bas-relief, a Dove of Peace, which was unveiled
at the House of the Nation (Binyaneh-Ha'ouma) in Jerusalem.
In 1968 Chana Orloff arrived in Israel for a
retrospective exhibition at the Tel Aviv Museum on the occasion of her 80th
birthday. Falling ill, she died at the Tel Hashomer hospital, near Tel-Aviv, on
December 18, 1968. She was buried at the Kriat Shaul cemetery in Tel-Aviv.
Elie, her son, will have the funerary monument she was working on placed on her
tomb.
Chana
Orloff, une femme artiste ukrainienne
De
la couture à la sculpture
INHA - Institut national d'histoire de l'art
Chana Orloff a-t-elle croisé le couturier
Jacques Doucet durant l’hiver 1910-1911 dans la rue de la Paix à Paris Tout le
laisse à penser puisque la jeune femme, arrivée en août 1910 à Paris, a trouvé
un emploi de couturière à la maison Paquin, au 3 rue de la Paix, c’est-à-dire à
quelques mètres de la maison Doucet sise au 21 de la même rue… Le parcours
incroyable de cette femme nous mène à la collection d’estampes de la
bibliothèque initiée par Jacques Doucet, puisqu’un portfolio de
portraits gravés par elle en 1919 a rejoint les réserves de la
bibliothèque en 2011. La majorité des matrices ayant servi à l’impression de
ces gravures sont conservées dans l’atelier même de l’artiste.
Chana Orloff est à l’honneur à Paris cette année puisque le musée Zadkine
propose du 16 novembre 2023 au 31 mars 2024 une exposition sur l’œuvre de cette
artiste exceptionnelle, Chana
Orloff. Sculpter l’époque, et que, parallèlement, le MahJ
célèbre, grâce à un dépôt des descendants de l’artiste, le retour d’une
sculpture spoliée dans son atelier en 1943 avec l'exposition « L’enfant Didi », itinéraire d’une
œuvre spoliée de Chana Orloff (1921-2023).
Chana Orloff, Ukrainienne de l’École de
Paris
Après une enfance passée en Ukraine où
elle est née en 1888 et une adolescence en Palestine où sa famille a émigré en
1905, Chana Orloff arrive à Paris en 1910 et travaille comme apprentie dans les
ateliers de la maison Paquin, poursuivant des cours de couture le
soir. Ses croquis de mode étant très prometteurs, elle est encouragée à passer
le concours d’entrée à l’École des arts décoratifs qu’elle intègre
en 1911, et poursuit brillamment une formation en dessin, modelage d’après
modèle vivant et sculpture. Elle travaille parallèlement dans une académie
libre, pour jeunes artistes russes, créée par Marie Vassilieff.
Chana, âgée juste de 22 ans, ignore
encore tout de l’univers des peintres et des sculpteurs. À Paris, elle va
rencontrer les jeunes artistes étrangers de l’avant-garde de l’École de Paris:
Picasso, Manolo, Pablo Gargallo, Modigliani, Zadkine, Lipchitz, Archipenko,
Csaky, Brancusi, Lhembruck. Elle arrive à Paris au moment où une véritable
révolution naît dans le monde de l’art, après l’exposition Cézanne de 1907 et
la découverte en Occident de ce que l’on appellera « l’art nègre », influençant
les cercles artistiques d’avant-garde.
Elle participe à la plupart des manifestations de l’art
d’avant-garde dans la période de l’entre deux guerres, exposant dans les salons
des Indépendants, salon de l’Araignée, salon d’Automne, où elle expose pour la
première fois en 1913, avec deux bustes en bois. La bibliothèque de l’INHA
conserve, depuis les origines de sa constitution, un fonds très important de
cartons d’invitation aux vernissages et livrets d’exposition, témoins précieux
et souvent uniques de ces événements auxquels participe Chana Orloff :
elle expose notamment en juin 1916 aux côtés d’Henri Matisse, Georges Rouault
et Kees Van Dongen à la galerie Bernheim‑Jeune et Cie.
Entre 1916 et 1919, elle collabore aux côtés de
son mari, Ary Justman, poète polonais, à l’aventure artistique, littéraire et
musicale de la revue SIC
(Son, Idées, Couleurs), fondée par Pierre Albert‑Birot, seule
petite revue d’avant-garde qui résista à la période de la première guerre
mondiale. À cette époque, elle réalise une série de onze portraits gravés sur
bois dont nous parlerons plus précisément dans la seconde partie de ce billet.
Dès les années 1920, elle devient une portraitiste recherchée de
l’élite parisienne. Son œuvre compte plus de 300 portraits sculptés. En 1923,
elle reçoit aussi une commande de 41 dessins pour une série de portraits des
célébrités parisiennes du monde des arts : Picasso, Braque, Matisse,
Archipenko, etc. Cet album intitulé Figures
d’aujourd’hui parait accompagné des poèmes de Gaston
Picard et Jean Pellerin. En 1925, Chana Orloff obtient la nationalité
française, est promue chevalier de la Légion d’honneur et devient sociétaire du
salon d’Automne.
Femme de réseaux et reconnaissance
internationale
La première exposition de Chana Orloff
aux États-Unis se déroule à New York en 1929, à la galerie E. Weyhe. Après New
York, elle expose à Boston au School Museum of Fine Arts. L’accueil outre‑Atlantique
confirme la reconnaissance de son talent en la mettant sur un pied d’égalité
avec Maillol, Despiau, Brancusi, Epstein et Zadkine. Elle expose aussi à
Philadelphie et Chicago dont le Club des arts compte parmi les lieux
incontournables de l’art moderne aux États-Unis, où la sculptrice établit son
carnet d’adresse d’artistes, de galeristes, de collectionneurs, d'acheteurs
potentiels.
En 1930, on lui demande de participer à
la création du Musée de Tel Aviv, où une rétrospective lui est consacrée en
février 1935. En 1937, l’exposition internationale des Arts et techniques à
Paris, promouvant la supériorité de l’école artistique française contemporaine
(élargie aux artistes étrangers « vivant ou ayant vécu en France depuis de
longues années ») permet à Chana Orloff d’exposer vingt-cinq œuvres aux côtés
de Lipschitz, Zadkine, Laurens, Gargallo, Bourdelle et Hernandez dans
l’exposition des Maîtres
de l’art indépendant 1895-1937, organisé au Petit Palais par
Raymond Escholier.
Grâce à cette reconnaissance qui lui
assure un confort financier, Chana Orloff, sur les recommandations de Jean
Lurçat, se fait construire en 1926, par l’architecte Auguste Perret (qu’elle
connaissait pour avoir fait son portrait en 1923) une maison‑atelier au 7 bis
Villa Seurat, où demeurent encore une grande partie de ses œuvres.
La seconde guerre mondiale et la
réception de son œuvre
Malgré la guerre, l’artiste poursuit son
travail et fréquente – avec son amie Jeanne Hébuterne – l’académie
Colarossi ainsi que l’académie Vassilieff. Mais en décembre 1942,
prévenue par son fondeur de la rafle qui deviendra celle du Vel d'Hiv, elle
part se réfugier en Suisse avec son fils. Durant cette période de décembre 1942
à mai 1945, elle réalise plus de cinquante sculptures. En février-mars 1945,
elle expose à la galerie Georges Moos à Genève dont Le
Journal du 15 février 1945, annonce « l'exposition des
œuvres exécutées pendant son séjour de deux ans en Suisse, par le grand
sculpteur Chana Orloff qui avant de quitter Genève pour rentrer à Paris, a bien
voulu consentir à nous en donner la primeur. L'exposition est constituée par un
ensemble d'une admirable tenue d'une trentaine de sculptures (bustes, nus,
animaux) et d'une quarantaine de dessins. »
En 1945, elle rentre à Paris où son
atelier a été saccagé par les Allemands. Un inventaire de cinq feuillets,
manuscrits de sa main, répertorie cent quarante-sept sculptures spoliées, dont
elle déclare le vol. En 2000, les descendants de l’artiste ont ouvert un
dossier à la commission d’indemnisation des victimes de spoliations
intervenues du fait des législations antisémites en vigueur sous l’Occupation.
À ce jour, seules deux sculptures ont pu être restituées, dont L’enfant Didi.
La considérant comme l’une des plus
grandes femmes sculpteurs de l’art de son temps, la Galerie de France consacre
une exposition particulière à Chana Orloff du 7 février au 2 mars 1946. La
plaquette de présentation est conservée à l’INHA. C’est la première exposition
personnelle réalisée en France depuis celle de 1926 à la galerie Druet.
Avec l’avènement de l’art abstrait en France, les collectionneurs
sont moins sensibles à ses œuvres. Sur les conseils de son ami le peintre Reuven
Rubin, elle se tourne donc à nouveau vers les États‑Unis. L’occasion lui
est donnée d’exposer en avril 1947 à la galerie Wildenstein de New York, puis
au De Young Museum de San Francisco. Au même moment, l’épreuve en bronze du
portrait du peintre David Widhopff, L’homme à la pipe, de
1924, est achetée par l'administration française pour le musée national d’art
moderne. À la suite à cette acquisition, elle est invitée à participer à
l’exposition La
Sculpture française de Rodin à nos jours, manifestation
itinérante se déroulant à Prague, Berlin et Baden‑Baden.
La période 1946-1949 est la période de sa
consécration et des grandes expositions rétrospectives. Chana Orloff entame une
nouvelle carrière, devenant en Israël l’une des premières femmes sculpteurs. Le
nouvel État lui demande de participer à l’édification de la nouvelle nation par
le biais de monuments commémoratifs.
Elle expose pour la première fois sa
sculpture Le Retour,
bronze réalisé en 1945 à la galerie Katia Granoff à Paris en décembre
1962-janvier 1963. Jean Cassou écrira dans le petit catalogue de cette
exposition : « Elle est essentiellement une portraitiste et une fabuliste. Ce
qu’il y a de plus particulier en chaque être vivant retient, amuse, attendrit
son attention. Chana Orloff est humaine. Rien de ce qui est humain chez un être
vivant, homme ou femme, ne lui est étranger. »
En décembre 1968, arrivant en Israël pour s’occuper des préparatifs
de la grande exposition rétrospective que le Musée de Tel Aviv avait décidé
d’organiser en l’honneur de son quatre-vingtième anniversaire, elle s’éteint le
18 décembre 1968, avant de voir cette exposition dont elle se faisait une si
grande joie.
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(Visa, Mastercard), Bank Cheque. If you wish to send a personal cheque, please
note that the item will not be shipped until the cheque clears.
Shipping&Handling: All items are sent through registered mail or by E.M.S. Fast delivery service (up to 4-5 business days), depends on the weight and measures of the purchased item.Youmay add insurance for the item with an additional fee. Please e-mail us for other shipping methods.
In case that the frame includes a glass, the item will be shipped without the glass in order to prevent any damage to the artwork caused by broken glass: be aware that such kind of a damage is not covered by the insurance!
Terms of Auction: All sales are final, please only bid if you intend to pay. Refunds will be accepted only if the item is not as described in the auction. ISRAELI BUYERS MUST ADD 17% V.A.T. TO THE FINAL PRICE.
Artshik provides full assurance that all items sold are exactly as described! We guarantee all items we sell are 100% authentic!