Studied with Rudi Lehman;
Studied in Italy on a scholarship form America-Israel Cultural Fund. He is a memeber of the Association of patinter and aculpturos of Israel and a member of Ein Hod artists village. He taught sculture at the Art Institue of Givatayim and in Ein Hod School of Art.
1968 Returned to Israel and set up a bronze foundry in Kiriat Motzkin
Among his works:
City Gates, bronze doors of the Musnicipality Building, Jerusalem.
Topheads, the Israel Prize fo outstanding Theatrical Activities
"Jazz Players" the Hebrew Union College, Jerusalem
"Don Quixhote" , Advanced Techonology Center, Haifa
"Sitting on the Fence" "Open man & "Alter", Ein hod
"Couple" International Convention Center, Jerusalem
"Bull", Cow, The open Museum, Tefen,
"Don Quixote" , "Sancho Panza" Wilfrid Israel Museum, Hazoera
1981 -Wilfrid Israel Museum, Hazorea
1986 - Haifa Municipality Building
since 1988 - Permanent Exhibition at the Hyatt Regency Hotel, Jerusalem
1989 - Artists' Center, Ein-Hod
1997 - Yad Labanim, Haifa
1999 - Wilfrid Israel Museum, Hazorea
1987 - Jack Gallery, New York;
1990 - Rudi Lehman and his students, Haifa Museum
1990 - Haifa Auditorium;
1990 - Sculpture Biennale, Ein-Hod;
1991 - Israel Art Month, Jerusalem
1993 - Homage to Chagal, Beit Chagal, Haifa;
1994 - Piece Wings, Beit Nagler, Kiryat Hayim;
1995 - Haifa Artists in Be'er Sheba;
1998 - 50 years of Israeli Sculpture, The Open Museum Tefen
1998 - 2001 - Holiday of Holidays, Haifa;
1994 -Awarded the Hermann Struck Prize by Haifa Municipality
Works in Public Places:
Municipality Building Jerusalem, bronze doors,
"City Gates"; Hebrew Union College, Jerusalem.
"Jazz Players"; International Conference Centre, Jerusalem,
"Couple"; sculpted the famous statue of Alexander Zaid, at Beth Shearim.
מאמר של עמוס קינן
Dan Zaretsky studied sculpture with Rudy Lehman. As a sculptor, Zaretsky learned bronze casting which helped him in the field of his art. He learned to take advantage of the lesser known possibilities inherent in bronze sculpture; here, Zaretsky has unique accomplishments.
In the art of sculpting, not a day or a period goes by without a search for new definitions of form, both in movement and in space. We say movement, because the nature of inanimate sculpture is that it moves, along with the eye of the observer. In classical sculpture, in works of stone, wood, bronze and ceramics, the three dimensionality was simply created, as in nature. But with modern sculpture, there have been revolutions, and turnabouts.
Zaretsky is a figurative sculptor who has a private language. It seems to me that his private language is drawn from ancient Assyrian sculpture, which was mainly the art of relief. Zaretsky creates sculptures in bronze that are extremely thin-but they are, nonetheless, very, very three dimensional. Here, there is a mutual understanding between the art of sculpture, and the art of relief. In bas-relief, figures are sculpted on a tablet of stone, wood, or other material, and the figures cast shadows and create the illusion of three dimensions. In haut-relief, perspective is also created. What Zaretsky accomplishes, and in my opinion he is the first to do so, at least for us here, is to create a sculpture that is so very thin that it is a deep relief, on both its sides.
The descriptive lines of the bull are both wild and beautiful, a kind of homage to the ancient caveman, but each and every muscle, each of the internal movements within the whole, are three dimensional. One must never place a Zaretsky sculpture up against the wall; the sculpture must be placed in such a way so that the observer can walk around it. Only then will the observer come to realize that the far side is not simply a mirror image of the near side; only then does the non-symmetry become clear-the left leg isn't just the opposite, or mirror of the right leg, but rather a separate entity, something independent.
What makes Zaretsky unique is that he creates a three dimensional sketch, in bronze. The bronze monkey is three dimensional, even though it is a sketch. Just imagine a pencil drawing that the artist cuts out with scissors, and then bends into a shape with several surfaces. The result is a three dimensional sketch.
Sculpture is a three dimensional art form. Zaretsky has found new ways to express three dimensionality. There are his sculptures of animals and humans, formed from thin bronze cylinders; when the bronze is bent a third dimension is created, even though, apparently, volume is non-existent. This is Zaretsky's response to the question: How many unorthodox ways are there to sculpt three dimensionally? In my opinion, Zaretsky's two different responses are totally unique, or at least they are not familiar to me from my acquaintance with the conventional forms of art sculpture.
Does Zaretsky's work follow in the footsteps of Pompon? Or in the path of Brancusi? Is Zaretsky in fact creating new forms, in his own unique way? To all three questions the answer would be, "Yes, this too."
Zaretsky's sculptures are built of a static stability, together with movement; the movement of the eye upon the material, and the movement of the material itself. The sculptures play in bronze and stone, they flow from the animal to the human, the human to the plant, the living to the inanimate, from the realistic to the abstract.
In the future, it would be no surprise to see Zaretsky's curiosity move him to make new discoveries, find new forms, and novel combinations.