Jacques Lipchitz, ‘STUDY FOR LESSON FROM A DISASTER’, ca. 1952, Alpha 137 Gallery
Jacques Lipchitz, ‘STUDY FOR LESSON FROM A DISASTER’, ca. 1952, Alpha 137 Gallery
Jacques Lipchitz, ‘STUDY FOR LESSON FROM A DISASTER’, ca. 1952, Alpha 137 Gallery
Jacques Lipchitz, ‘STUDY FOR LESSON FROM A DISASTER’, ca. 1952, Alpha 137 Gallery
Jacques Lipchitz, ‘STUDY FOR LESSON FROM A DISASTER’, ca. 1952, Alpha 137 Gallery

This original drawing was acquired directly from the Collection of renowned art dealers Helena and Ladislas Segy, who were close personal friends of Lipchitz. The work is matted and held in its original vintage frame. The label on the back states "This drawing with its flame-like effects follows the idea of the VIRGIN IN FLAME", and includes this text: "BACKGROUND: On January 5, 1952, fire destroyed Lipchitz's studio on Washington Square, where he lost most of his work among other the nearly finished plaster model of NOTRE DAME DE LIESSE for the Church of Assy. After he moved to his studio in Hastings-on-Hudson, he recalled the vision he has seen in the smoldering ruins of his studio which gave him the inspiration to create VIRGIN IN FLAMES I. (Museum of Modern Art, Cat. 85) and LESSONS FROM A DISASTER (Illustrated in N.H. Arnason's Sketches in Bronze, p. 154).

Measurements:
Framed: 17 inches by 14 inches
Sheet: 12 inches by 9 inches.

Signature: Signed in graphite lower right recto.

From the Collection of Helena and Ladislas Segy.

About Jacques Lipchitz

Among the foremost 20th-century Cubist sculptors, Jacques Lipchitz produced muscular, expressive works exploring biblical and mythological stories and such universal human themes as fidelity, love, and motherhood. He moved to Paris in 1909, where he began his career and became influenced by the nascent cubist style of Pablo Picasso and Georges Braque and the aesthetic of the machine. For Lipchitz, Cubism was a form of emancipation from preceding artistic movements, as his angular, vigorously modeled forms attest. Working principally in bronze (his favorite medium) and focused on the figure, he represented such allegories as The Rape of Europa, The Song of Songs, and the embrace of a mother and child, with emotion and sensitivity. “I never deserted the subject, even in my most abstract, cubist sculptures,” he once said, “because I have always believed that there must be communication between the artist and the spectator.”

Lithuanian-French, 1891-1973, Druskininkai, Lithuania