IV

AFTER THE DEATH of Hulme, Epstein drifted away from the clique which had made up the evening meetings on Frith Street. The war had taken not only Hulme but also Gaudier, and for Epstein these two men had been the chief attractions of the group.

His work progressed steadily, but it was not until 1920 that he exhibited his next important piece. Quite aside from its importance as sculpture, it was significant in that it brought Epstein a great deal of public attention. He had worked on this figure over a three-year period and its completion was an event for him.

The original idea for the figure, which was called "Christ", started with Epstein's desire to do a study of his friend, Bernard Van Dieren. Van Dieren had a fine head, and at a time when he was quite ill, Epstein was attracted by the drawn and suffering quality of his features. He felt the sensitivity and suffering of the head and chose to interpret it in a wider sense than just as a portrait of Van Dieren.

The statue itself is a long, cadaverous figure wrapped in a linen winding sheet. The features have been refined by suffering into sharp and almost delicate forms, and the face stares out over the world with a strange bleakness. In tongueless eloquence, one finger points to the gaping wound in the flattened and spiketorn palm. The long limbs point to the ground in sternly unbroken lines, and the bared feet are set flat and immovable upon the very rock of earth. Here there is no adornment, for none is needed. Every line carries the weight of suffering, compassion, and most of all, an unshakable conviction. As one element, the forms of this figure work to affirm its fundamental dignity and strength.

Epstein has said that he would like to see the "Christ" set up as a monument hundreds of feet tall. The idea is pleasing. To think of this stern and genuinely awe-inspiring figure set up on such a grand scale brings to mind the tremendous public reaction which might result. And on the whole, it is quite possible that this reaction would be far more favorable than otherwise.

It has been repeatedly said that Epstein is a primitive and very often the "Christ" has been used as an example to bear out this assertion. This is a popular misconception. Epstein, in common with many other artists, has learned much from the primitives, principally because they produced a great many fine works of

-11-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Art of Jacob Epstein
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgments v
  • Plates vii
  • Foreword xi
  • I 1
  • II 4
  • III 7
  • IV 11
  • V 14
  • VI 19
  • VII 23
  • VIII 27
  • IX 29
  • The Sculptures 33
  • The Drawings 183
  • Catalogue of the Works of Jacob Epstein 227
  • Index 244
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 258

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.