COPYRIGHT & CREDITS

ACKNOWLEDGEMENTS

From the Author

I would like to acknowledge the generosity of this book’s Title Sponsor, The Jay and Barbara Hennick Family Foundation.

This book would not have been possible without the support and confidence of Sorel Etrog’s family. Jonathan Gendler, the artist’s nephew and executor of The Sorel Etrog Estate, is the best friend an art historian can have; we spent many hours at the Estate offices pouring over and talking about his uncle’s art. Jonathan responded to literally hundreds of emails and text messages, helped in unearthing information and facilitated introductions to key members of the Etrog community, including, most crucially, his mother, the artist’s sister Zipora Gendler. Zippy, thank you for entrusting me with your life story and sharing with me your memories of your family’s time in Romania and early years in Israel; I am honoured and grateful for having won your trust. Thank you for opening your personal photo album and allowing me to include these wonderful images.

I am grateful to the artist’s friends and acquaintances who shared with me their time, knowledge and memories of the artist. Thank you to Howard Aster, Gary Michael Dault, Karen Green, Gregory Humeniuk, Gerry Jennings, Annette Mangaard, Karen McGuffin, David Moos, Barry Mowatt, Dennis Reid, Sherry Stein, Matthew Teitelbaum, and Eva Verga. Thank you to Mona Filip who helped with a question concerning the Romanian art world. A special thank you to Ihor Holubizky, who shared his vast knowledge of Etrog’s work and Canadian art at large. Joyce Zemans answered a million questions and provided her personal files and research on the artist, without which this book would have not been possible. Both Ihor and Joyce provided feedback on an early draft of the manuscript, for which I am immensely grateful.

A thank you to Amy Furness, Marylin Nazar, Larry Pfaff, and Donald Rance at the Art Gallery of Ontario’s Edward P. Taylor Library and Archives, who so graciously welcomed me during the months of archival research.

I am deeply grateful for all the assistance and in-depth feedback I received from the team at ACI: thank you to Sara Angel and Michael Rattray, as well as to Stephanie Burdzy, Josée Desforges, Kendra Ward, and Simone Wharton. To my editor Lara Hinchberger: thank you for making me a better writer.

I owe the world to Sebastian and Ela Salome. Thank you for the love, support and happiness.

From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of The Jay and Barbara Hennick Family Foundation, the Title Sponsor of this book.

The ACI gratefully acknowledges the support and assistance of Academy of Canadian Cinema & Television (Maria Pilar Galvez); Alamy (Princess Pratt); Art Gallery of Ontario (Amy Furness, Marilyn Nazar, and Tracy Mallon-Jensen); Bank of Canada (Janik Aubin-Robert, Susan Hooper, and Alexa Lapierre); Barbara Hepworth Estate (Sophie Bowness); City of Windsor (Christopher Lawrence-Menard and Cathy Masterson); Hammer Museum (Matthieu Vahanian); Hart House (Heather Pigat); Hennick Family Wellness Gallery (Gary Newton and Amy Anderson); MacLaren Art Centre (Emily McKibbon); Maclean’s (Liz Sullivan); Martha Jackson Gallery Archives of University at Buffalo (Nicholas Ostness); McMichael Canadian Art Collection (Jacqui Usiskin); Miriam Shiell Fine Art (Simon Bentley); Montreal Museum of Fine Arts (Marie-Claude Saia); Mount Allison University Library (David Mawhinney); National Gallery of Canada (Raven Amiro); NUVO Magazine (Alessandra Bordon); Prestel (Ute Zörbach); Rumi Gallery (Joseph Rumi); Special Collections Education & Outreach Librarian at Rauner Special Collections Library (Morgan R. Swan); Sun Life Company (Anna Ceci, Amber Kennedy and Nazuk Maini); Tate (Fintan Ryan); Tel Aviv Museum (Yaffa Goldfinger); United States Holocaust Memorial Museum; University of Lethbridge (Juliet Graham and Andrea Kremenik); Veterans Affairs Canada (Gail Ferris and Dean MacDonald); Waddington’s Auctioneers & Appraisers (Solomon Alaluf and John Macdonald); and Craig Boyko, Mr. John Curtin, James Dawson, John Dean, Dr. Jill Delaney, Jonathan Gendler, Zipora Gendler, Toni Hafkenscheid, Mr. Jay S. Hennick, Mrs. B. Hennick, Dr. Andrea Kunard, Dr. Carol Payne, and Danielle Siemens.

The Art Canada Institute also extends its appreciation to the other sponsors of the 2019–2020 Canadian Online Art Book Project: Alexandra Bennett in memory of Jalynn Bennett, Anonymous, Cowley Abbott, Kiki and Ian Delaney, The Sabourin Family Foundation, Scotiabank, and Bruce V. Walter.

We also sincerely thank the Founding Sponsor for the Art Canada Institute: BMO Financial Group; and the Art Canada Institute Patrons: Anonymous, Marilyn and Charlie Baillie, Christopher Bredt and Jamie Cameron, Butterfield Family Foundation,* David and Vivian Campbell,* Connor, Clark & Lunn Foundation, Albert E. Cummings,* The Fleck Family,* Roger and Kevin Garland,* Glorious and Free Foundation*, The Scott Griffin Foundation,* Jane Huh,* Lawson Hunter, Gershon Iskowitz Foundation,* Alan and Patricia Koval Foundation, Phil Lind,* Nancy McCain and Bill Morneau,* Alistair Mitchell, John O’Brian, Judith and Wilson Rodger, Gerald Sheff and Shanitha Kachan,* Stephen Smart,* Nalini and Tim Stewart,* Tina Tehranchian, and Robin and David Young.*

We thank our Lead Benefactors: Alexandra Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation,* Grant and Alice Burton, Kiki and Ian Delaney,* Jon S. and Lyne Dellandrea,* K. James Harrison, Michelle Koerner and Kevin Doyle,* Sarah and Tom Milroy,* Partners in Art,* Sandra L. Simpson,* Pam and Michael Stein,* and Sara and Michael Angel.*

* Indicates a Founding Patron of the Art Canada Institute.

Image Sources

Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.

Credit for Cover Image

Sorel Etrog, Source 2, 1967 — Sorel Etrog, *Source 2*, 1967, marble, 125.7 x 55.9 x 48.3 cm. Courtesy Miriam Shiell Fine Art, Toronto. © The Estate of Sorel Etrog (2020).

Credits for Banner Images

Biography: Sorel Etrog at the Zacks’ Southampton Wood Workshop, 1959. Photograph by L. Brown. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Dream Chamber, 1976 — Key Works: Sorel Etrog, *Dream Chamber*, 1976. (See below for details.)

Tribal Dancers in Blue, 1968–69 — Significance and Critical Issues: Sorel Etrog, *Tribal Dancers in Blue*, 1968–69. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Quartet Study, 1973 — Style and Technique: Sorel Etrog, *Quartet Study,* 1973. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Sources and Resources: Sorel Etrog in his studio, early 1970s. (See below for details.)

Where to See: View of Sorel Etrog sculptures in Frank Gehry–designed Galleria Italia, Art Gallery of Ontario, Toronto, 2013. Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Credits for Works by Sorel Etrog

Barbarian Head, 1959 — *Barbarian Head*, 1959. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Samuel Beckett, 1969 — *Beckett*, 1969. Art Gallery of Ontario, Toronto, gift of Sam and Ayala Zacks, 1970 (71/140). © The Estate of Sorel Etrog (2020).

Biafra, 1968 — *Biafra*, 1968. Collection of James Dawson, Victoria. Courtesy of James Dawson and Waddington’s Auctioneers & Appraisers. © The Estate of Sorel Etrog (2020). Photo credit: John Macdonald.

Bird that Does not Exist, 1967 — *Bird that Does Not Exist,* 1967. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Bird that Does not Exist III — *Bird that Does Not Exist II,* 1965. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Blossom, 1960-61 — *Blossom*, 1960–61. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

The Bodifestation of the Kite, installation view at Grunwald Gallery, Toronto, 1984 — *The Bodifestation of the Kite*, 1984, installation view at Grunwald Gallery, Toronto. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161724). © The Estate of Sorel Etrog (2020).

Bull Sketch, 1969 — *Bull Sketch*, 1969. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, gift of The Estate of Sorel Etrog, 2014 (LA.161720). © The Estate of Sorel Etrog (2020). Photo credit: Julie Trempe.

Ceremonial Figure, 1968 — *Ceremonial Figure*, 1968. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Complexes of a Young Lady, 1962 — *Complexes of a Young Lady*, 1962. Hart House Collection, University of Toronto, gift of Mr. & Mrs. Samuel Zacks, 1970 (HH1970.003). © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Composite 11, 1996-97 — *Composite 11*, 1996–97. Art Gallery of Ontario, Toronto, gift of Sorel Etrog, 2001 (2001/214). © The Estate of Sorel Etrog (2020).

Composites 12, 1996-97 — *Composite 12*, 1996–97. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Composite 14, 1997-98 — *Composite 14*, 1996–97. Art Gallery of Ontario, Toronto, gift of Sorel Etrog, 2011 (2011/382). © The Estate of Sorel Etrog (2020).

Composite 18, 1996-97 — *Composite 18*, 1996–97. Art Gallery of Ontario, Toronto, gift of Sorel Etrog, 2011 (2011/383). © The Estate of Sorel Etrog (2020).

Condottiere, 1972 — *Condottiere*, 1972. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Costume design for dancer from the play The Celtic Hero by W.B. Yeats — Costume design for dancer from the play *The Celtic Hero: Four Cuchulain Plays by W.B. Yeats*, 1979. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161730). © The Estate of Sorel Etrog (2020). Photo credit: Paul Smith.

Couple IV ’65 Study, 1965 — *Couple IV ’65 Study,* 1965. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

The Encounter, 1959 — *The Encounter*, 1959. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Flight, 1963-64 — *Flight*, 1963–64. Courtesy of Bank of Canada, Ottawa. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Nelson / Alamy Stock Photo.

Genie award, 1980. Academy of Canadian Cinema & Television, Toronto. © The Estate of Sorel Etrog (2020).

The Golem, 1959 — *The Golem,* 1959. Art Gallery of Ontario, Toronto, gift of Sam and Ayala Zacks, 1970 (71/145). © The Estate of Sorel Etrog (2020). Photo credit: Art Gallery of Ontario.

Imagination Dead Imagine, 1982 — *Imagination Dead Imagine*, 1982. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Kabuki, 1971-72 — *Kabuki*, 1971–72. Bow Valley Square Collection, Calgary. © The Estate of Sorel Etrog (2020). Photo credit: John Dean.

King and Queen, 1990 — *King and Queen*, 1990. Windsor Sculpture Garden. Courtesy of the City of Windsor. © The Estate of Sorel Etrog (2020).

Macrowaves, 1974-75 — *Macrowaves*, 1974–75. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Marshall McLuhan, 1976 — *Marshall McLuhan*, 1976. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto (108592). © The Estate of Sorel Etrog (2020).

Moses, 1963-65 — *Moses*, 1963–65. University of Lethbridge Art Collection, Alberta, donated by the House of Seagram Limited, Montreal, 1968 (1968.1). © The Estate of Sorel Etrog (2020).

Musical Impression, 1956 — *Musical Impression*, 1956. Tel Aviv Museum of Art. © The Estate of Sorel Etrog (2020). Photo credit: Margarita Perlin.

Night Spirit, 1969-70 — *Night Spirit*, 1969–70. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Pieton, 1974 — *Pieton*, 1974. Hennick Family and Hennick Family Wellness Gallery at Mount Sinai Hospital, Toronto. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Pistoya (Mother and Child), 1973-76 — *Pistoya (Mother and Child)*, 1973–76. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Michael Cullen.

Powersoul, 1988 — *Powersoul*, 1988. Government of South Korea Collection, Olympic Park, Seoul, South Korea. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161728). © The Estate of Sorel Etrog (2020).

Prayer for a New Moon, 1952 — *Prayer for a New Moon*, 1952. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Queeny, 1967 — *Queeny*, 1967. Courtesy of Rumi Galleries, Oakville. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

The Bodifestation of the Kite (detail), 1984 — Reprographic copy of detail from *The Bodifestation of the Kite*, 1984. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161725). © The Estate of Sorel Etrog (2020).

The Rite of Spring, 1967-68 — *The Rite of Spring*, 1967–68. Hennick Family, Hennick Family Wellness Gallery at Mount Sinai Hospital, Toronto. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Ritual Dancer, 1960-62 — *Ritual Dancer*, 1960–62. Art Gallery of Ontario, Toronto, gift of Mrs. O.D. Vaughan, 1980 (80/100). © The Estate of Sorel Etrog (2020).

Rushman, 1974-76 — *Rushman*, 1974–76. Courtesy of Miriam Shiell Fine Art, Toronto. © The Estate of Sorel Etrog (2020). Photo credit: Michael Cullen.

Sadko, 1971-72 — *Sadko*, 1971–72. Bow Valley Square Collection, Calgary. © The Estate of Sorel Etrog (2020). Photo credit: John Dean.

Shelter, 1976 — *Shelter*, 1976. McMichael Canadian Art Collection, Kleinburg, Ontario. © The Estate of Sorel Etrog (2020).

Sketch for Powersoul, c.1988 — Sketch for *Powersoul*, c.1988. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, gift of The Estate of Sorel Etrog, 2014 (LA.161721). © The Estate of Sorel Etrog (2020).

Society of Triangles, 1954-55 — *Society of Triangles*, 1954–55. Art Gallery of Ontario, Toronto, gift of Walter Carsen, 1995 (96/32). © The Estate of Sorel Etrog (2020).

Spaceplough II, 1990-98 — *Spaceplough II,* 1990–98. Windsor Sculpture Garden, Windsor. Courtesy of the City of Windsor. © The Estate of Sorel Etrog (2020). Photo credit: Ted Kloske.

Spiral (still frame), 1974 — *Spiral* (still frames), 1974. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Study for Dream Chamber, c.1976 — *Study for Dream Chamber*, c.1976. Private collection. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Study for Targets: Three Caresses, 1969 — *Study for Targets: Three Caresses*, 1969. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Sunbird II, 1962-64 — *Sunbird II*, 1962–64. Art Gallery of Ontario, Toronto, purchase, Corporations’ Subscription Endowment, 1965 (64/30). © The Estate of Sorel Etrog (2020).

Sunlife, 1984 — *Sun Life*, 1984. Sun Life Assurance Company of Canada. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Sun Life Study, 1984 — *Sun Life Study*, 1984. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Survivors Are Not Heroes, 1967 — *Survivors Are Not Heroes*, 1967. Hart House Collection, University of Toronto, purchased by Hart House from the Varsity Fund, 1968 (HH1968.004). © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Targets (Study after Guernica), 1969 — *Targets (Study after Guernica)*, 1969. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Untitled, 1974-75 — *Untitled*, 1974–75. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Vancouver Biennale Lifetime Achievement Award, 2005-7 — *Vancouver Biennale Lifetime Achievement Award*, 2005–7. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Waterbury, 1961 — *Waterbury*, 1961. McMichael Canadian Art Collection, Kleinburg, gift of The Estate of Sorel Etrog (2018.4). Photo credit: Courtesy of McMichael Canadian Art Collection. © The Estate of Sorel Etrog (2020).

War Remembrance Study, c.1959 — *War Remembrance Study*, c.1959. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

War Remembrance II, 1960-61 — *War Remembrance II*, 1960–61. Franklin D. Murphy Sculpture Garden, University of California, Los Angeles, gift of Anna Bing Arnold. Courtesy of Hammer Museum, University of California, Los Angeles. © The Estate of Sorel Etrog (2020). Photo credit: Hammer Museum, Joshua White.

White Scaffolding, 1958 — *White Scaffolding*, 1958. Art Gallery of Ontario, gift of Sam and Ayala Zacks, 1970 (71/156). © The Estate of Sorel Etrog (2020).

Witness-7271, 1971-72 — *Witness-7271*, 1971–72. Courtesy of Miriam Shiell Fine Art, Toronto. © The Estate of Sorel Etrog (2020). Photo credit: Craig Boyko.

Credits for Photographs and Works by Other Artists

Canadian National Vimy Memorial, 1922-1936 — *Canadian National Vimy Memorial*, 1922–36, by Walter S. Allward. Government of Canada. Courtesy of Veterans Affairs Canada. Photo credit: Dean MacDonald.

Canadian Pavilion in Venice with Moses, 1963-65 (foreground), and Mother and Child, 1960-62 (background), 1966 — Canadian Pavilion in Venice with *Moses,* 1963–65 (foreground), and *Mother and Child*, 1960–62 (background), 1966. Courtesy of The Estate of Sorel Etrog (2020). © The Estate of Sorel Etrog (2020). Photo credit: Giannina Frugoni.

Circular Relief, c.1925, by Naum Gabo. — *Circular Relief*, c.1925, by Naum Gabo. Tate Modern, London, U.K. (T02142). © Nina & Graham Williams (2020). Photo credit: Tate Modern.

Composites in Sorel Etrog's Davisville Studio, 1997 — Composites in Sorel Etrog’s studio nearby Yonge and Eglinton, 1997. Photograph by Sorel Etrog. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, gift of The Estate of Sorel Etrog, 2014 (LA.161719). © The Estate of Sorel Etrog (2020).

Cover of Dream Chamber: Joyce and the Dada Circus, a Collage by Sorel Etrog. About Roaratorio: an Irish Circus on Finnegans Wake by John Cage — Cover of *Dream Chamber: Joyce and the Dada Circus, a Collage by Sorel Etrog. About Roaratorio: an Irish Circus on Finnegans Wake by John Cage,* edited by Robert O’Driscoll (Toronto: Black Brick Press, Dublin: Dolmen Press, 1982). Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Cover of Sorel Etrog, Pierre Restany — Cover of *Sorel Etrog* by Pierre Restany (New York: Prestel, 2001). Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Cover of Sorel Etrog: Five Decades, ed. Ihor Holubizky — Cover of *Sorel Etrog: Five Decades,* edited by Ihor Holubizky (Toronto: Art Gallery of Ontario, 2013). Courtesy of Art Gallery of Ontario. © The Estate of Sorel Etrog (2020). Photo credit: Simone Wharton.

Cover of the artist-book Chocs by Eugène Ionesco and Sorel Etrog (New York: Martha Jackson Gallery, 1969). Courtesy of Martha Jackson Gallery Archives and The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

Cover of The Painted Constructions 1952–60 of Sorel Etrog — Cover of *The Painted Constructions 1952–60 of Sorel Etrog* by Theodore Allen Heinrich (Berne: Switzerland: Staempfli et Cie Ltd. 1968). Courtesy of Staempfli et Cie Ltd. © The Estate of Sorel Etrog (2020). Photo credit: Jonathan Gendler.

The Etrog family at their home in Rishon Le’tzion, Israel, c. 1950s — The Etrog family at their home in Rishon Le’tzion, Israel, c.1950s. Photographer unknown. Courtesy of Zipora Gendler.

Guernica, 1937, by Pablo Picasso — *Guernica*, 1937, by Pablo Picasso. Museo Reina Sofia, Madrid (DE00050). Photo credit: Museo Reina, Madrid.

Installation view of the Hennick Family Wellness Gallery at Mount Sinai Hospital, Toronto, 2020. Courtesy of Hennick Family Wellness Gallery at Mount Sinai Hospital, Toronto. © The Estate of Sorel Etrog (2020). Photo credit: Toni Hafkenscheid.

Jewish residents of Iasi, Romania, were murdered in the streets in June 1941 after the start of the Second World War. Courtesy of United States Holocaust Memorial Museum, Washington, D.C. (9036).

Page 2 of a letter Ayala Zacks wrote to Sorel Etrog in Hebrew, 1959 — Letter that Ayala Zacks wrote in Hebrew to Sorel Etrog, 1959 (page one of two). Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161718).

Lime Spatula (Kena), twentieth century — Lime spatula (*kena*), twentiethcentury. Brooklyn Museum Collection, gift of the Ernest Erickson Foundation, Inc. (86.224.147). Courtesy of Brooklyn Museum.

Mary Pratt holding a 1989 Genie award in Ottawa, Ontario. Courtesy of Mount Allison University Archives, Mary Pratt fonds (2003.35/8/4). © The Estate of Sorel Etrog (2020).

Maternal Grandmother Feigi with Sorel Etrog, 1933 — Maternal grandmother Feigi with Sorel Etrog, 1933. Courtesy of Zipora Gendler.

Moriţ, Lika, Tony, and Etrog during a visit to Venice, Italy, 1970s — Moshe, Lika, Tony, and Sorel Etrog during a visit to Venice, Italy, c.1970s. Courtesy of Zipora Gendler.

Moses, c. 1513-15, by Michelangelo — *Moses*, c.1513–15, by Michelangelo. San Pietro in Vincoli, Rome (Italy). Courtesy of Wikimedia Commons. Photo credit: Jörg Bittner Unna.

Mother and Child in Venice, Italy, 1966 — *Mother and Child*, 1960–62, in Venice, Italy, 1966. Library and Archives of the National Gallery of Canada, Ottawa. © The Estate of Sorel Etrog (2020).

Poster of Un chien andalou — Poster of *Un chien andalou* for CBC television.

Prime Minister Pierre Elliot Trudeau and Sorel Etrog with Dream Chamber, 24 Sussex Drive, Ottawa, 1983 — Prime Minister Pierre Elliott Trudeau and Sorel Etrog with *Dream Chamber*, 24 Sussex Drive, Ottawa, 1983. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Romanian police walk past the bodies of Jews removed from the Iasi-Calarasi death train in Targu-Frumos, July 1, 1941. Courtesy of the United States Holocaust Memorial Museum, Washington, D.C. (27430).

Jews being marched through the streets of Iasi, Romania, 1941 — Romanian soldiers and a cadet arrest a group of Jews at 157 I.C. Bratianu Street during the Iasi pogrom, June 29, 1941. Courtesy of United States Holocaust Memorial Museum Photo Archives, Washington, D.C. (74093).

Sea form (Porthmeor), 1958, by Barbara Hepworth — *Sea form (Porthmeor)*, 1958, by Barbara Hepworth. Art Gallery of Ontario, Toronto, gift of Sam and Ayala Zacks, 1970 (71/187). © Bowness (2020).

Sorel Etrog, late 1950s. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog and John Cage for Musicage (installation view) — Sorel Etrog and John Cage for *Musicage* (installation view) for John Cage’s seventieth birthday, 1982. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020). Photo credit: Robin Knight.

Sorel Etrog and Pierre Matisse at the opening of Etrog show at Matisse gallery, 1965. — Sorel Etrog and Pierre Matisse at the opening of Etrog exhibition at Matisse Gallery, 1965. Photograph by Fred Stein. Courtesy of The Estate of Sorel Etrog.

Sorel Etrog and Samuel Beckett signing Imagination Dead Imagine, 1982 — Sorel Etrog and Samuel Beckett signing *Imagination Dead Imagine*, 1982, in Beckett’s Paris studio. Photograph by Michael Nguyen. Courtesy of The Estate of Sorel Etrog.

Sorel Etrog carving Waterbury in his Manhattan studio, 1961 — Sorel Etrog carving *Waterbury* in his Manhattan studio, 1961. Photograph by Leslie Shurgin. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog exhibition at Gallery Moos, Toronto, 1959. Reproduced from *Sorel Etrog: Five Decades* by Ihor Holubizky (Toronto: Art Gallery of Ontario, 2013). © The Estate of Sorel Etrog (2020). Photo credit: Anthony Hayman.

Sorel Etrog’s first solo exhibition, ZOA House, Tel Aviv, Israel, 1958. Photograph by Yahin Hirsh. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161734). © The Estate of Sorel Etrog (2020).

Sorel Etrog in studio, early 1970s — Sorel Etrog in his studio, early 1970s. Photograph by Aurelio Amendola. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog in his Tip Top Tailor Studio, Toronto, 1964 — Sorel Etrog in his Tip Top Tailors studio, Toronto, 1964. Photograph by Paul Smith. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161727). © The Estate of Sorel Etrog (2020).

Sorel Etrog in his Yonge and Eglinton studio with studies for the Sunlife project, 1981-83. — Sorel Etrog in his Yonge and Eglinton studio with studies for the Sun Life project, 1981–83. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog in Michelucci Foundry, Pistoria, Italy, c. 1973 — Sorel Etrog in Michelucci Foundry, Pistoia, Italy, c.1973, photographer unknown. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog installing Capriccio at Walter Moos Gallery, 1961-4. — Sorel Etrog installing *Capriccio*, 1961–64, at Walter Moos Gallery, 1964, photograph by Paul Smith. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161723). © The Estate of Sorel Etrog (2020).

Sorel with Ayala and Samuel J. Zacks at Etrog’s first Canadian one-man show at Gallery Moos, Toronto, 1959. Photograph by Anthony Hayman. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel Etrog with The Bodifestation of the Kite, 1984 — Sorel Etrog with *The Bodifestation of the Kite*, 1984, at Grunwald Gallery, Toronto, 1984. Photograph by Paul Smith. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog, 2014 (LA.161724). © The Estate of Sorel Etrog (2020).

Sorel Etrog with Complexes of a Young Lady, c. 1962 — Sorel Etrog with *Complexes of a Young Lady*, c.1962. Courtesy of Zipora Gendler. © The Estate of Sorel Etrog (2020).

Sorel Etrog with Moses (1963-65) at Expo 67, Montreal — Sorel Etrog with *Moses*, 1963–65, at Expo 67, Montreal. Sorel Etrog Fonds, Edward P. Taylor Library & Archives, Art Gallery of Ontario, Toronto, gift of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sorel with parents Tony and Moriţ, c. 1936 — Sorel with parents Tony and Morit, c.1936. Courtesy of Zipora Gendler.

Sorel Etrog working on plaster of Embrace, 1961-624 — Sorel Etrog working on plaster of *Embrace*, 1961–64, early 1960s. Photograph by Paul Smith. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

Sadko, different stages of production from preliminary wax model through construction in plaster, to final plaster version before casting, c. 1972 — Stages of production for *Sadko*, 1971–72, from preliminary wax model through construction in plaster, to final plaster version before casting, c.1972. Photographs by Aurelio Amendola. Courtesy of The Estate of Sorel Etrog. © The Estate of Sorel Etrog (2020).

La Tauromaquia, Plate No. 19: “Otra locura suya en la misma plaza” (“Another Madness of His in the Same Ring”), 1816 — *La Tauromaquia,* Plate No. 19: “Otra locura suya en la misma plaza” (“Another Madness of His in the Same Ring”), 1816, by Francisco Goya. National Gallery of Art, Washington, D.C. (1943.3.1638). Photo credit: National Gallery of Art, Washington, D.C.

Still from Walter Moos on Sorel Etrog, c.2013 — Still from *Walter Moos on Sorel Etrog*, c.2013. Courtesy Art Gallery of Ontario, Toronto. © The Estate of Sorel Etrog (2020).

Samuel J. Zacks’s collection. Photograph by Walter Curtin. From the article “The Four fabulous Lives of Samuel Zacks,” published in *Maclean’s*, April 23, 1960. Courtesy of *Maclean’s*. © The Estate of Walter Curtin (2020).

Unique Forms of Continuity in Space, 1913 — *Unique Forms of Continuity in Space*, 1913, by Umberto Boccioni. Museum of Modern Art, New York, acquired through the Lillie P. Bliss Bequest by exchange (231.1948). Courtesy of Wikimedia Commons.

Zipora and Sorel in front of family store in Israel, c.1952. Courtesy of Zipora Gendler.

BOOK CREDITS

Publisher

Sara Angel

Executive Editor and Associate Publisher

Michael Rattray

French Editorial Director
Annie Champagne

Web & Layout Director

Simone Wharton

Editor

Lara Hinchberger

Copyeditor

Alison Reid

Senior Proofreader

Patricia Treble

Translator

Geneviève Blais

French Copyeditor

Christine Poulin

French Proofreader

Ginette Jubinville

Senior Image Research Associate
Stephanie Burdzy

Image Research Associates
Josée Desforges and Katlin Rogers

Layout Designer and Associate

Steven Boyle

Education Director

Jocelyn Anderson

Digital Image Specialist
Alexandra Cousins

Design Template
Studio Blackwell

Copyright

Art Canada Institute

Massey College, University of Toronto

4 Devonshire Place

Toronto, ON M5S 2E1

Library and Archives Canada Cataloguing in Publication

Title: Sorel Etrog : life & work / Alma Mikulinsky.
Names: Mikulinsky, Alma, author.
Identifiers: Canadiana 20200182013 | ISBN 9781487102210 (PDF) | ISBN 9781487102227 (HTML)
Subjects: LCSH: Etrog, Sorel, 1933- | LCSH: Etrog, Sorel, 1933-—Criticism and interpretation. |
LCSH: Sculptors—Canada—Biography. | LCGFT: Biographies.
Classification: LCC NB249.E7 M55 2020 | DDC 730.92—dc23