August Zamoyski settled in Saint-Clar-de-Rivière near Toulouse in 1958, after moving from Paris. There he acquired a residential farm with a studio and garden, where he designed his own tomb: an earthen tumulus with a crowning sculpture of the 'Resurrection', finished just before his death. He is now buried with his wife Helène in the cemetery behind the church, where the sculptor's remains were exhumed in 2012 in connection with the sale of the estate. The Latin inscription on the tablet placed on the tombstone refers to August Zamoyski as 'comesa' (Count). The sculpture was also moved to the new tomb, which thus lost its carefully composed situation - on a hill, among the trees of a private garden, where the sculpted figure arched and rose from the tomb. Such a conception of his own tombstone remains unprecedented in world art. Zamoyski had been working on this work since the early 1960s, initially without giving it overt religious references. In fact, he had already designed his tomb in the 1950s, changing his ideas several times. Ultimately, the content of the sculpture was defined by a maxim inscribed on the wall of the studio and referred to several times in the artist's letters: "the taut bow is life, and the aim of its arrow, death". In a letter to the art dealer Simon Schochet in New York of 26 August 1967, he wrote:

"Death, of course, in the sense that day is born of night. You see from the drawing that hands and feet are nailed to the earth, from which man, taut as a bow, seeks to break away towards Heaven, towards the Absolute, but with the care of existence he is imprisoned until we are called, until we are matured by 'knowledge', until the experiences of life have forged us into a being worthy of eternal life."

The idea was refined over several years, and the final shape of the curved figure was created around 1967. It was not until 1968 that Zamoyski named the finished sculpture 'Resurrection'. Scaled-down replicas of it were also created, casts of which are preserved in the family's collection; one was bought by Schochet. The sculpture represents the pinnacle of the final phase of Zamoyski's oeuvre, the phase of 'new expressionism', as the monographer of the oeuvre, Zofia Kossakowska-Szanajca, described it.