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Lipchitz received a thoroughly traditional training in sculpture. This involved copying plaster casts of classical sculpture, and learning how to develop an idea from small clay sketches to full-scale plaster models, which could then be copied in bronze or stone by craftsmen. The inspiration for this work lies less with traditional classical models, however, than with archaic sculptures of an earlier period, and, perhaps, medieval statuary. The woman's flattened features, the way in which her arms are pulled into the body, and the theme of pregnancy were all anti-classical, and reflected Lipchitz's awareness of the new interest amongst avant-garde artists in previously disregarded types of past sculpture.

August 2004