Hughes, London, Summer 22, repr. Stokes on Hepworth' in David Thistlewood ed. With the emergence of her multi-part sculptures duringBarbara Hepworth initiated in Britain at least the abandonment of the convention of the single integral sculptural mass.
Pinterest Do not touch: It is that the more austere her work, the more sterile it looks in the subterranean galleries at Tate Britain.
|Barbara Hepworth… back in focus | Art and design | The Guardian||Purchased from the artist by Duncan Macdonaldand bought back from the estate of his widow, Mrs Elizabeth Macdonald, by the artist Exhibited:|
The groupings of pristine abstract forms — white cones, spheres and shapes like miniature dolmens — look especially stark and unnatural in the artificial lighting, as if they were making a purely theoretical point. And that is the overwhelming flaw of the show itself: This is both drily theoretical and at the same time exposing, suggesting an excessive degree of control.
NORWICH SCULPTURE TRAILS Prepared by the Recording Archive for Public Sculpture in Norfolk and Suffolk srmvision.com 2 Around the Cathedral and the Castle. This is an exclusive range of hand screen printed, linen scarves made in Yorkshire for YSP. This hand silk-screened collection pushes a new level of detail and complexity of design, focusing on. Hepworth investigated absence/presence in sculpture and played with the relationship of her sculptural forms to the larger spaces surrounding srmvision.comality: British.
A film of Hepworth hacking away in the sunlit studio gardens at St Ives, hair coiled like Simone de Beauvoir, as Cecil Day-Lewis intones the exceedingly portentous voiceover about the sea, the elements, the trees that contain the forms, and so forth, is unmitigated hagiography. There are more than works in this show, yet somehow it still manages to stray away from the very odd character of her work.
The evolution is perfectly conveyed, to be sure — the works getting bigger and more expensive in tandem with her flourishing career.
But what is their essential nature? The big bronzes are rough and unyielding, standing like walls against the sky. Light comes through their perforated discs like a relief in both respects. The ovoid carvings invite all kinds of visual associations — corkscrews, apple peel, eggs, binoculars, harps, when stringed — that they just as readily reject.
The open structures of the later years resemble rusting gyroscopes, the massive wood-carvings are like ton conkers, gleaming to shoe-polish brightness.
The satisfaction is almost there, but always Hepworth stops short of metaphor. Anyone who prefers her super-fluent drawings will appreciate the celebrated hospital images displayed in this show — surgeons and nurses deep in their painstaking work — and not just because the images are sensationally beautiful.
What they achieve is exactly what the sculptures so often deliberately avoid — an articulation of the strange tension between figuration and abstraction in the real world around us.
People, objects and landscapes are woven together, the affinities eloquently articulated. They are expressive in the very degree to which the sculptures — so tough and hard won — are not.The Kiss (), by Auguste Rodin.
This influential marble cast (of which there are three copies) typifies Rodin's unique ability to express intense emotion through the physicality of sculpture. Artwork page for ‘Pelagos’, Dame Barbara Hepworth, on display at Tate Britain. Pelagos (‘sea’ in Greek) was inspired by a view of the bay at St Ives in Cornwall, where two arms of land enfold the sea on either side.
The hollowed-out wood has a spiral formation resembling a shell, a wave or the roll of a hill.
Hepworth wanted the taut strings to express ‘the tension I felt. Sculptor Barbara Hepworth photographed at the Tate in April with her sculpture Four-Square (Walk Through), part of the Sculpture for a Modern World exhibition there.
Photograph: Bob Aylott. Hepworth investigated absence/presence in sculpture and played with the relationship of her sculptural forms to the larger spaces surrounding srmvision.comality: British.
The modern sculpture movement can be said to begin at the Rodin exhibit at the Universal Exhibition held in Paris in At this event Rodin showed his Burghers of Calais, Balzac, Victor Hugo statues, and the exhibition included the first public showing of his Gates of Hell which included The Thinker..
Cubist sculpture, in the early 20th century, was a style that developed in parallel with. This is an exclusive range of hand screen printed, linen scarves made in Yorkshire for YSP. This hand silk-screened collection pushes a new level of detail and complexity of design, focusing on.