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of the previous work is now developed into a tent-like canopy form and the entire structure take on a macabre, surrealist quality.

The other sketches of 1925 mark the first germs of a series of ideas which [[strikethrough]] are [[/strikethrough]] were to be realized in a number of different major works of the later 1920's and 1930's. These are a figure entitled Meditation (20) and another Man Leaning on His Elbows (21). Meditation is a figure, head on hand, consisting essentially of a single spiral shape given a blocky massiveness through its flattened planes. Space substantially interpenetrates the figure. The other figure, Man Leaning on His Elbows, involves a thin and delicate arrangement of arms, attenuated torso and legs in which the solids seem to be serving as frames for the voids. This [[strikethrough]] is [[/strikethrough]] was now the moment when Lipchitz began to create his transparents in which he reversed solid and void in a series of experiments which were to have the greatest impact of the later history of modern sculpture. The Meditation was quickly translated without significant change into larger versions of marble and bronze, and its general forms served as the basis for such sculpture as the Reclining Nude with Guitar, 1928 (). In its blocky yet curving masses, it again anticipates the style of many major works of the 1930's.

Both of these sketches involved an attempt on the part of Lipchitz to create a kind of Thinker of his own after Rodin. The fact that at this period he should be in some degree turning to Rodin is itself of interest. Like many