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of the experimental sculptors who grew up in the early years of the century, Lipchitz had felt that Rodin was the overpowering influence to be combatted. When, once in his youth, he learned that Rodin had praised one of his works at an exhibition, he was literally sick with anxiety, wondering what could be wrong with his sculpture that Rodin should like it. However, now in the 1920's at the moment when cubism was no longer enough, he began to realize that Rodin was after all the father of modern sculpture, the master of them all. 

The Man Leaning on His Elbows, modest though it is in scale and concept, cursory in execution, is a foreshadowing of many of Lipchitz' greatest works. Another startling premonition of his later directions is to be seen in a small sketch of a sacrifice entitled, obviously much later, First Idea for Sacrifice (22). This shows a figure holding high a sacrificial cock. It is treated with the [[strikethrough]] greatest [[/strikethrough]] utmost immediacy and expressive boldness in the modelling, and fully illustrates Lipchitz' realization at this time that a confidence in his eye and hand must now replace the discipline of cubist blueprints. This figure anticipates the Sacrifice III, 1949-57 (   ) and even more, in its extreme freedom of execution, Prayer, 1943 
(    ). In both of these later works there is also a fascinating detail of similarity with the Woman with Mandolin (19). The priests in both cases are hooded in a manner astonishingly reminiscent of the hooded form in the