Jacob Epstein
Jacob Epstein: A Life of Sculpture and Innovation
Full Name and Common Aliases
Jacob Epstein was born as Jakub Pincus in 1880 to a Polish-Jewish family in Nancy, France. He later changed his name to Jacob Epstein, which would become synonymous with modernist sculpture.
Birth and Death Dates
Jacob Epstein was born on October 10, 1880, and passed away on August 21, 1959.
Nationality and Profession(s)
Epstein's nationality is often debated among art historians, but he is generally considered to be of Polish-Jewish descent. As a sculptor, Epstein worked primarily in stone, metal, and wood, producing works that were both figurative and abstract.
Early Life and Background
Growing up in a family of modest means, Epstein received little formal education. However, his natural talent for art was encouraged by his parents, who arranged for him to study at the Nancy School of Decorative Arts. In 1899, Epstein moved to London to pursue his artistic ambitions, where he would become an integral part of the city's vibrant arts scene.
Major Accomplishments
Epstein's work had a profound impact on modernist sculpture, and his contributions can be seen in several key areas:
Figurative Sculpture: Epstein is perhaps best known for his figurative works, which often explored themes of human emotion and psychology. His most famous piece, the 1912 sculpture "The Rock Drill," marked a significant departure from traditional representational art.
Portraiture: Epstein's portraits, such as those of W.B. Yeats and Virginia Woolf, are renowned for their psychological depth and technical skill.
Public Commissions: Epstein received several high-profile public commissions, including the 1912 Portland Stone Memorial to Queen Eleanor in Westminster Abbey.Notable Works or Actions
Some of Epstein's most notable works include:
"The Rock Drill" (1912): A groundbreaking sculpture that explored the relationship between art and industry.
"Cambridge" (1933): A massive, abstract monument designed for King's College Chapel.
Commission Rejection: In 1925, Epstein was asked to redesign a commission for the Union Club in New York City. His original proposal, which featured nude figures, was deemed too risqué.
Impact and Legacy
Jacob Epstein's innovative approach to sculpture had a lasting impact on modern art, influencing generations of artists and sculptors. His work continues to be celebrated for its emotional intensity and technical mastery:
Modernist Pioneer: Epstein's experimental style helped pave the way for future avant-garde movements.
Artistic Expression: Through his work, Epstein explored themes of human psychology, emotion, and experience.
Why They Are Widely Quoted or Remembered
Jacob Epstein is widely quoted and remembered for his groundbreaking contributions to modernist sculpture. His innovative approach to art has inspired countless artists, and his legacy continues to shape the way we think about sculpture and its role in society.
Quotes by Jacob Epstein
I cannot recall a period when I did not draw; and at school, the studies that were distasteful to me, mathematics and grammar, were retarded by the indulgence of teachers who were proud of my drawing faculties, and passed over my neglect of uncongenial subjects.
A sculptor is supposed to be a dull dog anyway, so why should he not break out in colour sometimes, and in my case I’d as soon be hanged for a sheep as a lamb.
When I was doing Professor Albert Einstein’s bust he had many a jibe at the Nazi professors, one hundred of whom had condemned his theory of relativity in a book. ‘Were I wrong,’ he said, ’one professor would have been enough.
The artist who imagines that he puts his best into a portrait in order to produce something good, which will be a pleasure to the sitter and to himself, will have some bitter experiences.
A wife, a lover, can perhaps never see what the artist sees. They rarely ever do. Perhaps a really mediocre artist has more chance of success.
There are infinite modes of expression in the world of art, and to insist that only by one road can the artist attain his ends is to limit him.
A sculptor is supposed to be a dull dog anyway, so why should he not break out in colour sometimes, and in my case I'd as soon be hanged for a sheep as a lamb.
I cannot recall a period when I did not draw; and at school, the studies that were distasteful to me, mathematics and grammar , were retarded by the indulgence of teachers who were proud of my drawing faculties, and passed over my neglect of uncongenial subjects.
When I was doing Professor Albert Einstein's bust he had many a jibe at the Nazi professors, one hundred of whom had condemned his theory of relativity in a book. 'Were I wrong,' he said, 'one professor would have been enough.