Zadkine Art déco

In 2025, the Musée Zadkine celebrates the centenary of the 1925 International Exhibition of Decorative and Industrial Arts. This unique exhibition unveils a little-known side of Ossip Zadkine: a sensual sculptor, bold colorist, fascinated by precious materials. Over ninety works—sculptures, objects, and furniture—reveal his close ties with major decorators Eileen Gray, André Groult, and Marc du Plantier. Set in the walls of his former Parisian studio, gilded sculptures, lacquered woods, and monumental reliefs transform this secret museum into a vibrant Art Deco salon reflecting the modernity of the 1920s and '30s.

From Cubism to the Ornamental Intoxication of the 1920s. In the early 1920s, Ossip Zadkine gradually moved away from Cubist rigor to explore new forms. He sought a more fleshy, vibrant expression. Color floods his sculptures: he gilds, lacquers, polishes, and patinates his works like medieval craftsmen. Influenced by traditional Japanese and Chinese crafts, he became enthusiastic about decorative effects, experimenting with exotic woods, polished stone, gilded or lacquered plaster. Each material became a field of experimentation where an organic truth emerged that Cubist modeling had sometimes stifled. Ossip Zadkine (1890–1967), The Golden Bird, circa 1924, painted and gold leaf plaster. Zadkine described himself as an heir to medieval cabinetmakers. He wrote in his memoirs that he wanted to act "like a 13th and 14th-century cabinetmaker who always trusted his instinct." Direct carving triumphs in his work: this ancient technique where form emerges directly from the stone or wood block without intermediates. In a world rediscovering the pleasure of decoration, Zadkine celebrates the beauty of artisanal craftsmanship with renewed intensity. "Like a 13th and 14th-century cabinetmaker who always trusted his instinct."

Decorative Art on an Architectural Scale. Zadkine did not create only for bourgeois interiors. He invested the city by collaborating with architects in Paris and Brussels. His slender, powerful figures integrate into modern facades and gardens. The exhibition 'Zadkine Art Deco' at Musée Zadkine notably presents his contributions to major world fairs, revealing an artist capable of thinking on a monumental scale. Over 90 works gathered in the sculptor's former studio. The journey culminates with the 1925 International Exhibition of Decorative Arts, where Zadkine's mastery of direct carving earned him a role in this major project. Alongside François Pompon and brothers Jan and Joël Martel, he directly carved stone reliefs for the Pergola de la Douce France. This collective monument, erected on the Invalides esplanade and dedicated to Celtic legends—the Holy Grail, Tristan and Iseult, Merlin and Viviane—won the Grand International Architecture Prize. Reassembled in 1935 at Étampes and classified as a historic monument in 1998, the Pergola remains one of the few visible testimonies of monumental Art Deco. Ossip Zadkine (1890–1967), Woman’s Head, 1924, limestone with gray marble inlays and delicate color highlights. This Woman’s Head embodies Zadkine’s refinement in the 1920s. Carved from limestone with gray marble inlays for the eyes and subtle color accents, it reveals the sculptor's passion for precious materials. This piece belonged to Eileen Gray, a major Art Deco design figure, illustrating Zadkine's recognition among the era's leading creators.

When Sculpture and Furniture Merge in a 1930s Setting. The final section of the exhibition takes place in the very studio where Zadkine lived and worked until 1967. Furniture and objects by Eileen Gray, André Groult, and Marc du Plantier enter into dialogue with his sculptures. A lacquered table by Groult faces the Hermaphrodite Torso; a deck chair by Gray echoes the sensual curves of his female figures; a screen by Marc du Plantier reflects the golden light of The Golden Bird. ✨ Together, they recreate the intimate atmosphere of a lived-in Art Deco interior: soft lighting, deep lacquer reflections, warmth of precious woods. The scenography accentuates the materials and gives the impression of being invited into a 1930s collector's home. Recall that in 1925, Eileen Gray invited Zadkine to exhibit in her Jean Désert gallery alongside Chana Orloff. Suddenly it becomes clear that Zadkine was not just the tormented post-war sculptor; he was also a total creator, loved and collected by the greatest decorators of his time. Ossip Zadkine (1890–1967), Hermaphrodite Torso, 1925, 1931, lacquered acacia wood in collaboration with André Groult.