Artist:
Barbara Hepworth
Title:
Ascending, Gloria
Year:
1958
Adress:
Royal Botanic Garden
Website:
playful, strong, elegant
I see in this artwork a torso that leans to the left, the shoulders tilted to the left, the shortened legs in a ascending movement. Funny is that the head is the residual form of a circle.
Her torso and the rough structuur on the inside give haar firmness. The lines of her arms and legs blend into each other.
It seems to me that Barbara Hepworth portrays here a playful, strong and elegant woman.
By Theo, www.artatsite.com
Vertaling
speels, sterk, elegant
Ik zie in dit kunstwerk een torso dat iets naar links neigt, de schouders en armen iets naar links gekanteld, de verkorte benen in een oprichtende beweging. Grappig is juist dat het hoofd de restvorm is van een cirkel.
Haar torso en de ruwe structuur aan de binnenkant geven haar stevigheid. De lijnen van haar armen en benen lopen in elkaar over.
Het lijkt mij dat Barbara Hepworth hier een speelse, sterke en elegante vrouw uitbeeldt.
Door Theo, www.artatsite.com
www.nationalgalleries.org:
Ascending Form (Gloria) is based on two diamond shapes, a larger sitting on top of a smaller with the outlines delineated by flat planes inside the form. The larger form seems to emerge from the smaller, suggesting growth and upward movement.
www.nationalgalleries.org:
Several critics have interpreted Ascending Form (Gloria) the shape as a pair of hands in prayer, a reading reinforced by Hepworth s renewed spirituality during this period of her life following the death of her son, Paul, in 1953.
www.patinaart.co.uk:
When we first examined this sculpture at the request of the Hepworth Estate there were colours on the surface that were unusual for an outdoor bronze. Closer examination revealed that there was a white material in many of the crevices surrounded by various colours of algae.
Hepworth was adventurous in the use of patinas on bronze and worked closely with her foundry to achieve the colours and effects she wanted.
www.wikipedia.org:
Dame Jocelyn Barth DBE (10 January 1903 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the Second World War.
Early life
Jocelyn Barbara Hepworth was born on 10 January 1903 in Wakefield, West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth. Her father was a civil engineer for the West Riding County Council, who in 1921 advanced to the role of County Surveyor. Hepworth attended Wakefield Girls' High School, where she was awarded music prizes at the age of 12 and won a scholarship to study at the Leeds School of Art from 1920. It was there that she met her fellow Yorkshireman, Henry Moore. They became friends and established a friendly rivalry that lasted professionally for many years.
Despite the difficulties of attempting to gain a position in what was a male-dominated eironment, Hepworth successfully won a county scholarship to attend the Royal College of Art (RCA) in London and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.
Early career
Following her studies at the RCA, Hepworth travelled to Florence, Italy, in 1924 on a West Riding Travel Scholarship. Hepworth was also the runner-up for the Prix-de-Rome, which the sculptor John Skeaping won. After travelling with him to Siena and Rome, Hepworth married Skeaping on 13 May 1925 in Florence. In Italy, Hepworth learned how to carve marble from sculptor Giovanni Ardini. Hepworth and Skeaping returned to London in 1926, where they exhibited their works together from their flat. Their son Paul was born in London in 1929. In 1931, Hepworth met and fell in love with abstract painter Ben Nicholson; however, both were still married at the time. At Hepworth's request, she and Skeaping were divorced that year.
Her early work was highly interested in abstraction and art movements on the continent. In 1931, Hepworth was the first to sculpt the pierced figures that are characteristic of both her own work and, later, that of Henry Moore. They would lead in the path to modernism in sculpture. In 1933, Hepworth travelled with Nicholson to France, where they visited the studios of Jean Arp, Pablo Picasso, and Constantin Br ncu?i. Hepworth later became involved with the Paris-based art movement, Abstraction-Cr ation. In 1933, Hepworth co-founded the Unit One art movement with Nicholson and Paul Nash, the critic Herbert Read, and the architect Wells Coates. The movement sought to unite Surrealism and abstraction in British art.
Hepworth also helped raise awareness of continental artists amongst the British public. In 1937, she designed the layout for Circle: An International Survey of Constructivist Art, a 300-page book that surveyed Constructivist artists and that was published in London and edited by Nicholson, Naum Gabo, and Leslie Martin.
Hepworth, with Nicholson, e birth to triplets in 1934: Rachel, Sarah, and Simon. Hepworth, atypically, found a way to both take care of her children and continue producing her art. ""A woman artist"", she argued, ""is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate) one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one's min"Hepworth married Nicholson on 17 November 1938 at Hampstead Register Office in north London, following his divorce from his wife Winifred. Rachel and Simon also became artists.
St Ives
Hepworth lived in Trewyn Studios in St Ives from 1949 until her death in 1975.] She said that "Finding Trewyn Studio was sort of magic. Here was a studio, a yard, and garden where I could work in open air and space."Hepworth was also a skilled draughtsperson. After her daughter Sarah was hospitalised in 1944, she struck up a close friendship with the surgeon Norman Capener. At Capener's invitation, she was invited to view surgical procedures and, between 1947 and 1949, she produced nearly 80 drawings of operating rooms in chalk, ink, and pencil. Hepworth was fascinated by the similarities between surgeons and artists, stating: "There is, it seems to me, a close affinity between the work and approach of both physicians and surgeons, and painters and sculptors." Death of son Paul
Her eldest son Paul was killed on 13 February 1953 in a plane crash while serving with the Royal Air Force in Thailand. A memorial to him, Madonna and Child, is in the parish church of St Ives. Exhausted, in part from her son's death, Hepworth travelled to Greece with her friend Margaret Gardiner in August 1954. They visited Athens, Delphi and many of the Aegean Islands. Between 1954 and 1956 Hepworth sculpted six pieces out of guarea wood, many of which were inspired by her trip to Greece, such as Corinthos (1954) and Curved Form (Delphi) (1955).
I see in this artwork a torso that leans to the left, the shoulders tilted to the left, the shortened legs in a ascending movement. Funny is that the head is the residual form of a circle.
Her torso and the rough structuur on the inside give haar firmness. The lines of her arms and legs blend into each other.
It seems to me that Barbara Hepworth portrays here a playful, strong and elegant woman.
By Theo, www.artatsite.com
Vertaling
speels, sterk, elegant
Ik zie in dit kunstwerk een torso dat iets naar links neigt, de schouders en armen iets naar links gekanteld, de verkorte benen in een oprichtende beweging. Grappig is juist dat het hoofd de restvorm is van een cirkel.
Haar torso en de ruwe structuur aan de binnenkant geven haar stevigheid. De lijnen van haar armen en benen lopen in elkaar over.
Het lijkt mij dat Barbara Hepworth hier een speelse, sterke en elegante vrouw uitbeeldt.
Door Theo, www.artatsite.com
www.nationalgalleries.org:
Ascending Form (Gloria) is based on two diamond shapes, a larger sitting on top of a smaller with the outlines delineated by flat planes inside the form. The larger form seems to emerge from the smaller, suggesting growth and upward movement.
www.nationalgalleries.org:
Several critics have interpreted Ascending Form (Gloria) the shape as a pair of hands in prayer, a reading reinforced by Hepworth s renewed spirituality during this period of her life following the death of her son, Paul, in 1953.
www.patinaart.co.uk:
When we first examined this sculpture at the request of the Hepworth Estate there were colours on the surface that were unusual for an outdoor bronze. Closer examination revealed that there was a white material in many of the crevices surrounded by various colours of algae.
Hepworth was adventurous in the use of patinas on bronze and worked closely with her foundry to achieve the colours and effects she wanted.
www.wikipedia.org:
Dame Jocelyn Barth DBE (10 January 1903 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the Second World War.
Early life
Jocelyn Barbara Hepworth was born on 10 January 1903 in Wakefield, West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth. Her father was a civil engineer for the West Riding County Council, who in 1921 advanced to the role of County Surveyor. Hepworth attended Wakefield Girls' High School, where she was awarded music prizes at the age of 12 and won a scholarship to study at the Leeds School of Art from 1920. It was there that she met her fellow Yorkshireman, Henry Moore. They became friends and established a friendly rivalry that lasted professionally for many years.
Despite the difficulties of attempting to gain a position in what was a male-dominated eironment, Hepworth successfully won a county scholarship to attend the Royal College of Art (RCA) in London and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.
Early career
Following her studies at the RCA, Hepworth travelled to Florence, Italy, in 1924 on a West Riding Travel Scholarship. Hepworth was also the runner-up for the Prix-de-Rome, which the sculptor John Skeaping won. After travelling with him to Siena and Rome, Hepworth married Skeaping on 13 May 1925 in Florence. In Italy, Hepworth learned how to carve marble from sculptor Giovanni Ardini. Hepworth and Skeaping returned to London in 1926, where they exhibited their works together from their flat. Their son Paul was born in London in 1929. In 1931, Hepworth met and fell in love with abstract painter Ben Nicholson; however, both were still married at the time. At Hepworth's request, she and Skeaping were divorced that year.
Her early work was highly interested in abstraction and art movements on the continent. In 1931, Hepworth was the first to sculpt the pierced figures that are characteristic of both her own work and, later, that of Henry Moore. They would lead in the path to modernism in sculpture. In 1933, Hepworth travelled with Nicholson to France, where they visited the studios of Jean Arp, Pablo Picasso, and Constantin Br ncu?i. Hepworth later became involved with the Paris-based art movement, Abstraction-Cr ation. In 1933, Hepworth co-founded the Unit One art movement with Nicholson and Paul Nash, the critic Herbert Read, and the architect Wells Coates. The movement sought to unite Surrealism and abstraction in British art.
Hepworth also helped raise awareness of continental artists amongst the British public. In 1937, she designed the layout for Circle: An International Survey of Constructivist Art, a 300-page book that surveyed Constructivist artists and that was published in London and edited by Nicholson, Naum Gabo, and Leslie Martin.
Hepworth, with Nicholson, e birth to triplets in 1934: Rachel, Sarah, and Simon. Hepworth, atypically, found a way to both take care of her children and continue producing her art. ""A woman artist"", she argued, ""is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate) one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one's min"Hepworth married Nicholson on 17 November 1938 at Hampstead Register Office in north London, following his divorce from his wife Winifred. Rachel and Simon also became artists.
St Ives
Hepworth lived in Trewyn Studios in St Ives from 1949 until her death in 1975.] She said that "Finding Trewyn Studio was sort of magic. Here was a studio, a yard, and garden where I could work in open air and space."Hepworth was also a skilled draughtsperson. After her daughter Sarah was hospitalised in 1944, she struck up a close friendship with the surgeon Norman Capener. At Capener's invitation, she was invited to view surgical procedures and, between 1947 and 1949, she produced nearly 80 drawings of operating rooms in chalk, ink, and pencil. Hepworth was fascinated by the similarities between surgeons and artists, stating: "There is, it seems to me, a close affinity between the work and approach of both physicians and surgeons, and painters and sculptors." Death of son Paul
Her eldest son Paul was killed on 13 February 1953 in a plane crash while serving with the Royal Air Force in Thailand. A memorial to him, Madonna and Child, is in the parish church of St Ives. Exhausted, in part from her son's death, Hepworth travelled to Greece with her friend Margaret Gardiner in August 1954. They visited Athens, Delphi and many of the Aegean Islands. Between 1954 and 1956 Hepworth sculpted six pieces out of guarea wood, many of which were inspired by her trip to Greece, such as Corinthos (1954) and Curved Form (Delphi) (1955).