Le Discobole (1928) is a striking example of this philosophy. Carved directly from a pearwood trunk, the sculpture portrays an ancient athlete poised to throw a disc. With crossed arms and a dynamic stance, the figure embodies movement and balance, key elements of classical sculpture. Zadkine’s technique of direct carving allowed him to explore primitivism and avant-garde influences, breaking away from rigid academic traditions. His return to mythological themes in the late 1920s marked a significant shift in his work, drawing inspiration from antiquity while integrating modern abstraction.

Zadkine’s Discobole reinterprets Myron’s famous Greek Discobolus from the 5th century BC, transforming its classical harmony into a modern expression of geometry and emotion. By simplifying anatomical details and embracing Cubist abstraction, he infused the sculpture with new energy while maintaining the essence of movement. This synthesis of classical and modern styles was a defining characteristic of his work, allowing him to push the boundaries of traditional sculpture.

The sculpture’s history is equally remarkable. In 1938, it was acquired by Bernard Davis, a prominent American collector passionate about modern art. Alongside Niobé, Le Discobole became part of Davis’s prestigious collection, later donated to the Philadelphia Museum of Art in 1945. This legacy underscores the importance of Zadkine’s contribution to modern sculpture, blending ancient inspiration with contemporary innovation.