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be seen in a vista of forest at the end of an alley of grass. The location in some degree determined the shapes to be used as well as their relationship to one another. The reclining woman is an extremely free, flowing, curvilinear form that marks one of the first reactions of the artist against cubism of the more rigidly geometric tradition. The column is of [[strikethrough]] the greatest [[/strikethrough]] extreme importance as the first idea for a series of vertical totemistic sculptures which culminate in the great Figure of 1930 (   ).

1922-1924

A Study for a Garden Vase, 1923, (8) is perhaps related in concept to the Study for a Garden Statue. It is a momentary return to an almost literal representation of an architectural vase from which emerge freely naturalistic plant shapes, [[strikethrough]] of importance [[/strikethrough]] a re-examination of natural forms, expressed with the freedom of organic life.

The sketches between 1922 and 1924 principally take the forms of relief plaques (9-15). In 1922, Albert C. Barnes commissioned the artist to make some bas reliefs for the newly completed building of the Barnes Foundation (10). The wall space to be filled was an awkward and rather ugly shape and Lipchitz at first was reluctant to attempt the project. However, he finally solved it by creating a powerful diamond shape within the frame, flanked with large