Reuven RUBIN (Galati 1893 - Tel-Aviv 1974)
Made in 1920
Bronze with golden patina
Width : 23 cm
Depth : 21 cm
Signed and dated on the front " Rubin 920 "
On the back of the sculpture the foundryman's mark " Susse fondeur Paris "
A lithograph by Reuven Rubin " The story of David "
73 x 50 cm at the sight
Signed, dated and dedicated on the lower right " To the only Yvonne Bernard my oldest good friend with love Rubin 1971 "
Former collection Mr. Rubin (Galati 1893 - Tel-Aviv 1974) et Mme. Bernard Weinberg.
Collection Privée, France.
Rubin my life my Art, autobiography and works selected by Reuven Rubin, introduction dr. Haim gamzu (director Tel Aviv Museum), Sabra Books, Furk Wagnalls, New York, 1969, reproduced p. 16.
Bernard Amblard, Bernard Weinberg, a survivor of the anti-Semitic frenzy, Atelier Édi-Sion Bernard Amblard, 2012, reproduced p.27.
A certificate number 0140, from Mrs. Carmela Rubin, curator of the Rubin Museum in Tel Aviv, will be given to the purchaser.
The story of this bronze self-portrait by Reuven Rubin and of the friendship between Bernard Weinberg and the artist is described in Bernard Amblard's book: Bernard Weinberg, un rescapé de la frénésie antisémite, Atelier Édi-Sion Bernard Amblard, 2012.
Reuven Rubin and Bernard Weinberg met in 1920 in Bucharest.
At that time the painter was trying to raise funds to go to the United States. Bernard Weinberg recommends him to Mr. Margulies, a financier who will cover his travel expenses.
Bernard Weinberg acquires the self-portrait of the artist in plaster from Reuven Rubin, thus showing his support and interest in his art. From this original plaster, Bernard Weinberg, with the agreement of Reuven Rubin, created this bronze copy.
"As a young man (in 1920: he was 27 years old), Rubin made his own plaster bust for my grandfather, painted green, as he imagined himself at a later age. It is striking how accurate his anticipation was. Bernard later had a bronze copy made, with Rubin's approval, fearing the fragility of the plaster and the clumsiness of the cleaning ladies. I have always seen this bust in the best place in my grandparents' successive residences. P. 26 Bernard Amblard
The artist depicts himself in this self-portrait older than he is at the time. His head emerges from a raw mass leaving visible marks of modelling. Reuven Rubin goes beyond the self-portrait, he represents the universal, timeless Artist. We go from a self-portrait to the allegory of the Artist. The deep, profound and far-reaching gaze is visionary. The non finito intensifies the expression of the face. This self-portrait is reminiscent of the allegorical works of Auguste Rodin (Mozart 1911; Henry Becque, head on neck of the shadow, after 1904) both in the technique used and in its allegorical character.
We would like to thank Mrs. Carmela Rubin, curator at the Rubin Museum in Tel Aviv for the information provided concerning this work.
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