August Zamoyski, „Zmartwychwstanie”, 1967-1968, brąz, Saint-Clar-de-Rivière, cmentarz, photo Andrzej Pieńkos, 2015
Licence: CC BY-SA 4.0, Source: Instytut Polonika, Conditions d\'autorisation
Photo montrant Sculpture of August Zamoyski \"Resurrection\" in Saint-Clar-de-Rivière
August Zamoyski, „Zmartwychwstanie”, 1967-1968, brąz, Saint-Clar-de-Rivière, cmentarz, photo Andrzej Pieńkos, 2015
Licence: CC BY-SA 4.0, Source: Instytut Polonika, Conditions d\'autorisation
Photo montrant Sculpture of August Zamoyski \"Resurrection\" in Saint-Clar-de-Rivière
August Zamoyski, „Zmartwychwstanie”, 1967-1968, brąz, Saint-Clar-de-Rivière, cmentarz, photo Andrzej Pieńkos, 2015
Licence: CC BY-SA 4.0, Source: Instytut Polonika, Conditions d\'autorisation
Photo montrant Sculpture of August Zamoyski \"Resurrection\" in Saint-Clar-de-Rivière
August Zamoyski, „Zmartwychwstanie”, 1967-1968, brąz, Saint-Clar-de-Rivière, cmentarz, photo Andrzej Pieńkos, 2015
Licence: CC BY-SA 4.0, Source: Instytut Polonika, Conditions d\'autorisation
Photo montrant Sculpture of August Zamoyski \"Resurrection\" in Saint-Clar-de-Rivière
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ID: POL-001430-P

Sculpture of August Zamoyski "Resurrection" in Saint-Clar-de-Rivière

ID: POL-001430-P

Sculpture of August Zamoyski "Resurrection" in Saint-Clar-de-Rivière

Variants of the name:
Rzeźba Augusta Zamoyskiego „Resurrection” w Saint-Clar-de-Rivière

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.

Related persons:
Time of origin:
1967-1968
Bibliography:
  • Z. Kossakowska-Szanajca, „August Zamoyski”, Warszawa 1974, s. 56.
  • W. Tatarkiewicz, O Auguście Zamoyskim i jego poglądach na sztukę, „Biuletyn Historii Sztuki”, 1975, nr 3, s. 290.
  • August Zamoyski 1893-1970, katalog wystawy monograficznej w stulecie urodzin artysty w Muzeum Narodowym w Warszawie, red. Z. Kossakowska-Szanajca, Warszawa 1993, s. 21.
  • „August Zamoyski. Myśleć w kamieniu”, katalog wystawy w Muzeum Literatury im. A. Mickiewicza w Warszawie, red. A. Lipa, Warszawa 2019, s. 388-389, 420-425.
  • Andrzej Pieńkos, „The House of Art. Modern Residences of Artists as the Subject and Space of Creation”, Frankfurt am Main-Warsaw 2016, s. 175.
  • Andrzej Pieńkos, „Późna twórczość wielkich artystów. Zamoyski, ostatnie prace aż po grób”, [w:] tamże, s. 375-381.
Supplementary bibliography:

Numerous drawing sketches, correspondence concerning the sculpture in the Zamoyski Archive at the A. Mickiewicz Museum of Literature in Warsaw; a set of photographs by E. Kossakowski from 1968, documenting work on the sculpture, in the Museum of Modern Art in Warsaw.

Keywords:
Publikacja:
15.07.2024
Ostatnia aktualizacja:
15.07.2024
Author:
prof. Andrzej Pieńkos
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