DOI issue:
Nr. 1-2
DOI article:Nadelman, Cynthia: Elie Nadelman
DOI Page / Citation link: https://doi.org/10.11588/diglit.48917#0023
ELIE NADELMAN
Przypisy
* Cynthia Nadelman, wnuczka Elii Nadelmana jest kryty-
kiem sztuki i poetką. Poprzednio była redaktorem "ART
news", a teraz współpracuje z redakcją tegoż magazynu.
Obecnie przygotowuje do druku biografię Nadelmana.
Mieszkała w Polsce w latach 1959-61, w czasie gdy jej
ojciec (już po raz drugi) pełnił funkcję amerykańskiego
dyplomaty.
1. Na podstawie wywiadu przeprowadzonego przez autorkę
w 1991 r. z przyrodnią wnuczką Nadelmana Aileen Gut-
heridge Malinowski ( ur. 1920).
2. Rodzinne dokumenty Nadelmana.
3. A. SALMON, La sculpture vivant. "L’Art Vivant", z
1926 (l.IV); Ch. ARONSON, Art polonaise moderne.
Paryż, Editions Bonaparte 1926; T. NATANSON, Peints
a leur tour. Paryż, Editions Albin Michel 1948.
4. A. GIDE, Journal 1889-1939. 25. lub 26.IV.1909 r. Pa-
ryż, Librairie Gallimard, 1948.
5. E. NADELMAN, Czy kubizm jest czysta sztuką? list
skierowany do wydawcy "The Forum", lipiec 1925.
6. P. PICASSO, Kąpiący się, olej, płótno, zima 1908-1909,
Paryż. Nowy York, Kolekcja P. Bertram Smith.
7. E. Nadelman, oświadczenie na temat jego rysunków,
"Photo-Secession Notes", Camera Work , wyd. Alfred
Stieglitz, No.32, Oct. 1910.
8. A. SALMON, Eli Nadelman. "L’Art decoratif", 1914
(ni).
9. K. PARKES, After Futurism Comes "SignificantForm".
"The Sphere", 1926 (2.X).
10. L. KIRSTEIN, Elie Nadelman. New York 1973, The
Eakins Press.
11. H.TYRRELL,At aMusicalTea withNadelman. "World
Magazine" (New York), 30 listopad 1919.
12. Tango znajduje się w Whitney Museum of American Art
w Nowym Jorku; Kobieta przy pianinie przechowywana
jest w kolekcji Museum of Modem Art.
13. Rodzinne archiwum Nadelmana.
14. Ibidem.
ELIE NADELMAN
This article concems Elie Nadelman, an acclaimed
Polish-American sculptor and draughtsman. Written by
the artist’s granddaughter, it is based on family docu-
ments and traditions. Nadelman was bom in Warsaw in
a family of Jewish descent, and studied in the local Class
of Draughtsmanship. He became acąuainted with the
artistic milieus of Cracow and Munich before moving to
Paris, where he stayed for ten years, until the outbreak
of the First World War. From the end of 1914 until 1946
the artist lived in New York and a suburban villa in
Riverdale.
The works of Elie Nadelman stemmed from his
fascination with the sculpture of ancient Greece, in
particular Praxiteles and figurines from Tanagra; he also
remained underthe impact of Rodin as well as European
and American Folk art and, in the later period, contem-
porary mass culture. Prior to 1914 the Parisian milieu
regarded him, i.a. thanks to exhibitions held in the
Galerie E. Druet in 1909 and 1913, as an important
representative of new Classicism but also as a member
of the avantgarde. His conceptions of applying curved
lines which created configurations of concurrence or
opposition, influenced the formation of Picasso ’s Cu-
bism. Nadelman was the author of the first abstract
sculpture (ca 1908). Synthetic figural sculptures, depic-
ting various human types dressed in contemporary gar-
ments i.a. Man in Fresh Air, Tango and The Piano
Player come from the post-1914 period. They contribu-
ted to the recognition of Nadelman as a leading repre-
sentative of American modernism. After 1930 the artist
executed sculptures-idols pattemed after the figurines
from Tanagra; due to their smali size, they resembled
children’s dolls. He wished to disseminate them as a
generally accessible substitute of art in a world of mass
culture. Throughout his whole life, Nadelman regarded
himself as a Pole. Before 1914, he was strongly connec-
ted with the Polish artistic colony in Paris and took part
in numerous Polish exhibitions (for the last time in Paris
in 1929).
The author of a fundamental monographic study
dealing with Elie Nadelman is L. Kirstein (New York
1973). The largest retrospective exhibition was held in
the Whitney Museum of American Art in 1975 in New
York
Translated by Aleksandra Rodzińska-Chojnowska
13
Przypisy
* Cynthia Nadelman, wnuczka Elii Nadelmana jest kryty-
kiem sztuki i poetką. Poprzednio była redaktorem "ART
news", a teraz współpracuje z redakcją tegoż magazynu.
Obecnie przygotowuje do druku biografię Nadelmana.
Mieszkała w Polsce w latach 1959-61, w czasie gdy jej
ojciec (już po raz drugi) pełnił funkcję amerykańskiego
dyplomaty.
1. Na podstawie wywiadu przeprowadzonego przez autorkę
w 1991 r. z przyrodnią wnuczką Nadelmana Aileen Gut-
heridge Malinowski ( ur. 1920).
2. Rodzinne dokumenty Nadelmana.
3. A. SALMON, La sculpture vivant. "L’Art Vivant", z
1926 (l.IV); Ch. ARONSON, Art polonaise moderne.
Paryż, Editions Bonaparte 1926; T. NATANSON, Peints
a leur tour. Paryż, Editions Albin Michel 1948.
4. A. GIDE, Journal 1889-1939. 25. lub 26.IV.1909 r. Pa-
ryż, Librairie Gallimard, 1948.
5. E. NADELMAN, Czy kubizm jest czysta sztuką? list
skierowany do wydawcy "The Forum", lipiec 1925.
6. P. PICASSO, Kąpiący się, olej, płótno, zima 1908-1909,
Paryż. Nowy York, Kolekcja P. Bertram Smith.
7. E. Nadelman, oświadczenie na temat jego rysunków,
"Photo-Secession Notes", Camera Work , wyd. Alfred
Stieglitz, No.32, Oct. 1910.
8. A. SALMON, Eli Nadelman. "L’Art decoratif", 1914
(ni).
9. K. PARKES, After Futurism Comes "SignificantForm".
"The Sphere", 1926 (2.X).
10. L. KIRSTEIN, Elie Nadelman. New York 1973, The
Eakins Press.
11. H.TYRRELL,At aMusicalTea withNadelman. "World
Magazine" (New York), 30 listopad 1919.
12. Tango znajduje się w Whitney Museum of American Art
w Nowym Jorku; Kobieta przy pianinie przechowywana
jest w kolekcji Museum of Modem Art.
13. Rodzinne archiwum Nadelmana.
14. Ibidem.
ELIE NADELMAN
This article concems Elie Nadelman, an acclaimed
Polish-American sculptor and draughtsman. Written by
the artist’s granddaughter, it is based on family docu-
ments and traditions. Nadelman was bom in Warsaw in
a family of Jewish descent, and studied in the local Class
of Draughtsmanship. He became acąuainted with the
artistic milieus of Cracow and Munich before moving to
Paris, where he stayed for ten years, until the outbreak
of the First World War. From the end of 1914 until 1946
the artist lived in New York and a suburban villa in
Riverdale.
The works of Elie Nadelman stemmed from his
fascination with the sculpture of ancient Greece, in
particular Praxiteles and figurines from Tanagra; he also
remained underthe impact of Rodin as well as European
and American Folk art and, in the later period, contem-
porary mass culture. Prior to 1914 the Parisian milieu
regarded him, i.a. thanks to exhibitions held in the
Galerie E. Druet in 1909 and 1913, as an important
representative of new Classicism but also as a member
of the avantgarde. His conceptions of applying curved
lines which created configurations of concurrence or
opposition, influenced the formation of Picasso ’s Cu-
bism. Nadelman was the author of the first abstract
sculpture (ca 1908). Synthetic figural sculptures, depic-
ting various human types dressed in contemporary gar-
ments i.a. Man in Fresh Air, Tango and The Piano
Player come from the post-1914 period. They contribu-
ted to the recognition of Nadelman as a leading repre-
sentative of American modernism. After 1930 the artist
executed sculptures-idols pattemed after the figurines
from Tanagra; due to their smali size, they resembled
children’s dolls. He wished to disseminate them as a
generally accessible substitute of art in a world of mass
culture. Throughout his whole life, Nadelman regarded
himself as a Pole. Before 1914, he was strongly connec-
ted with the Polish artistic colony in Paris and took part
in numerous Polish exhibitions (for the last time in Paris
in 1929).
The author of a fundamental monographic study
dealing with Elie Nadelman is L. Kirstein (New York
1973). The largest retrospective exhibition was held in
the Whitney Museum of American Art in 1975 in New
York
Translated by Aleksandra Rodzińska-Chojnowska
13