Blaise Cendrars, Theodor Daubler & Iwan Goll, Archipenko, Potsdam, 1921, no. 26, illustration of another example
Maurice Raynal, Archipenko avec 32 reproductions en phototypie, Rome, 1923, no. 21, illustration of another example
Alexander Archipenko, Archipenko: Fifty Creative Years 1908-1958, New York, 1960, no. 19, illustration in colour of another example
Katherine Jánszky Michaelsen, Alexander Archipenko, A Study of the Early Works 1908-1920, New York, 1977, illustration of another cast pl. S84
Anette Barth, Alexander Archipenkos plastisches œuvre, Frওankfurt, 1997, vol. II, no🌠. 86, illustration of another example p. 189

A striking work of 1917 Walking Soldier (Soldat qui Marche) is a powerful representation of a soldier from a newly Modern age, in which war was dehumanized by the mechanical. The soldier's gait is thrusting in movement and purpose, with the strong diagonal highlighting the advance. 'As an adolescent, Archipenko experienced the terror of street battles in the 1905 uprising in Kiev. Consequently, he was particularly sensitive to the gathering storm clouds of war in 1913. The halting Gondolier of this year and the ominous Walking Soldier of 1917 reveal another mood' (D. H. Karshan, Archipenko, The Sculpture and Graphic Art, Tübingen, 1974, p. 36).

The advent of Cubism in Paris in 1914 changed the face of sculpture as well as paintings. Avant garde sculptors embraced the sharp lines and innovative compositions of their painting peers and in the present work Archipenko uses such compositional advances in a bold yet harmonious approach. Archipenko can lay claim to being the first of the constructivist sculptors who often worked with glass and everyday utilitarian objects as early as 1912.

T𒊎he original, made from gypsum and then painted, in the collection of the Tel Aviv Museum of Art to whom the work was donated in 1956 by the Goeritz 🌠family.