Recognized during her lifetime and unjustly forgotten since, Chana Orloff (1888-1968) is the subject of a first retrospective exhibition in France in the museum of her colleague Ossip Zadkine. With Zadkine, Chana Orloff shares many points in common. Starting with their dual origins, Jewish and Slavic. Both were born the same year and arrived in Paris in 1910. However, although they frequented the same neighborhood, Montparnasse, and shared a circle of mutual friends, the artistic encounter was non-existent. Because Orloff distinguished himself within the avant-garde by pursuing the classic theme of human and animal portraiture. She is neither cubist nor expressionist in the deconstructive wake of Rodin as Zadkine is precisely. Through the commissions she received from the artistic intelligentsia of the interwar period, she developed and refined her stylized line, cutting the volumes into curves and curves.

Extract from the article by Laurence d'Ist published in No. 109 of the Art Absolument magazine. Published on January 11, 2024.

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