{"label":"Woman with Poodle","metadata":[{"label":"Date","value":"ca. 1914-1915"}],"description":"Early modernist American sculptor, draughtsman and collector of Polish birth, Elie Nadelman studied briefly in Warsaw, then made his way via Munich to Paris, where he lived from 1904 to 1914.  While in France, he socialized with important members of the avant-garde, including Leo Stein, who brought Pablo Picasso to Nadelman's studio in 1908.  By 1910, Nadelman was sufficiently established as a modernist eminence to be invited by Alfred Stieglitz to publish an article about his own work.  Three years later, one of Nadelman's sculptures and twelve of his drawings were included in the Armory Show, the first large-scale exhibition of European Modernism in America.\r\n\r\nThough affiliated with the avant-garde, Nadelman did not see art of the past as a threat or obstacle to innovation.  He considered classical precedents as a source of energy and ideas, integrating elements from a variety of styles including art nouveau, primitive art and cubism.  During his time in France, he created sculpture and drawings that used fragments of the past to create a modern vision that was at once contemporary and timeless.  By the time he left Paris for New York in October 1914, Nadelman was beginning to be recognized as one of the master sculptors of the new century.  Already well known when he arrived in America, he was well received both by the traditionalists, who were adamantly opposed to the modern movement, and by the modernists, who were just beginning to gain public recognition.\r\n\r\nWelcomed by both High Bohemia and High Society, Nadelman drew his themes from the life he witnessed in New York - dancers and singers, society hostesses and circus performers, orchestra conductors and gentlemen in formal wear.  He became fascinated by American folk art that inspired his series of satirical figures of entertainers and socialites made of polychromed wood that he began around 1917.  After marrying a wealthy widow in 1919, Nadelman set up a studio with three assistants to do much of his preliminary carving, and he and his wife formed a significant collection of American folk art.  \r\n\r\nBased on the classical boudoir theme, the bas-relief Woman with Poodle simultaneously refers back to Nadelman's classical works of 1906-1909 and looks forward to his witty, carved wood figures of the late 1910s and early 1920s.  Curving lines of arms and legs, linens and curtains move through the composition with sweeping force, the artist's discerning hand evident in the working of the wood of this unique piece.","related":[{"format":"text/html","label":"View details","@id":"https://emuseum.huntington.org/objects/35760/woman-with-poodle"}],"rendering":[{"format":"text/html","label":"View details","@id":"https://emuseum.huntington.org/objects/35760/woman-with-poodle"}],"sequences":[{"label":"default","canvases":[{"label":"Photography © 2014 Fredrik Nilsen","width":1200,"height":900,"images":[{"resource":{"service":{"profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":256,"height":256,"scaleFactors":[1,2,4,8],"@type":"iiif:Tile","@context":"http://iiif.io/api/image/2/context.json"},{"width":512,"height":512,"scaleFactors":[1,2,4,8],"@type":"iiif:Tile","@context":"http://iiif.io/api/image/2/context.json"},{"width":1024,"height":1024,"scaleFactors":[1,2,4,8],"@type":"iiif:Tile","@context":"http://iiif.io/api/image/2/context.json"}],"@context":"http://iiif.io/api/image/2/context.json","@id":"https://emuseum.huntington.org/apis/iiif/image/v2/30004"},"format":"image/jpeg","width":1200,"height":900,"@type":"dctypes:Image","@id":"https://emuseum.huntington.org/apis/iiif/image/v2/30004/full/full/0/default.jpg","@context":"http://iiif.io/api/presentation/2/context.json"},"motivation":"sc:painting","on":"https://emuseum.huntington.org/apis/iiif/presentation/v2/1-objects-35760/canvas/1067893","@type":"oa:Annotation","@id":"https://emuseum.huntington.org/apis/iiif/presentation/v2/1-objects-35760/annotation/1067893","@context":"http://iiif.io/api/presentation/2/context.json"}],"@type":"sc:Canvas","@id":"https://emuseum.huntington.org/apis/iiif/presentation/v2/1-objects-35760/canvas/30004","@context":"http://iiif.io/api/presentation/2/context.json"}],"@type":"sc:Sequence","@id":"https://emuseum.huntington.org/apis/iiif/presentation/v2/1-objects-35760/sequence/default","@context":"http://iiif.io/api/presentation/2/context.json"}],"logo":[{"@id":"https://emuseum.huntington.org/internal/media/logodispatcher/Huntington_Wordmark_SingleLine_L1Green.jpg"}],"@type":"sc:Manifest","@id":"https://emuseum.huntington.org/apis/iiif/presentation/v2/1-objects-35760/manifest","@context":"http://iiif.io/api/presentation/2/context.json","thumbnail":[{"service":{"profile":"http://iiif.io/api/image/2/level2.json","@context":"http://iiif.io/api/image/2/context.json","@id":"https://emuseum.huntington.org/apis/iiif/image/v2/30004"},"@id":"https://emuseum.huntington.org/apis/iiif/image/v2/30004/full/%21100%2C100/0/default.jpg"}]}