finding each other
The outside of the artwork is smooth like a skin. I wouldn t be surprised if this would feel smooth and silky, even though this artwork is made of solid bronze.
The inner surface is rough with the color of pistachio, light green, copper brown. It looks like this is full of life and emotion.
The statue has round shapes: two ellipses and a circle. The ellipses are a residual form of the arm and the neck on the topside. The ellipses at the bottom- and de topside and the circle in the middle make the artwork into an abstract work of art.
The soft exterior and the rough interior, the ellipses and the circle are at service of the diagonal connection between the left- and the right-hand side. I see that two loved ones find each other with liveliness and excitement.
By Theo, www.artatsite.com
Vertaling
elkaar vinden
De buitenkant van het kunstwerk is glad gepolijst, als een huid. Het zou mij niet verbazen als dit glad en zacht zou aanvoelen, ook al is dit kunstwerk gemaakt van massief brons.
De binnenkant is ruw met kleuren van pistache, lichtgroen, koperbruin. Het lijkt alsof dit volop leven en emotie is.
Het beeld heeft ronde vormen: twee ellipsen en een cirkel. De ellipsen zijn de restvormen van de armen en de hals aan de bovenkant. De ellips aan de onder- en bovenkant en de cirkel in het midden, maken het kunstwerk tot een abstract kunstwerk.
De zachte buitenkant en de ruwe binnenkant, de ellipsen en de cirkel staan in dienst van de schuine verbinding tussen de linker- en de rechterkant. Ik zie dat twee gelieven elkaar hier vinden met veel leven en emotie.
Door Theo, www.artatsite.com
www.cornwalls.co.uk:
Epidauros II Bronze. This casting was one of an edition of seven made by Barbara Hepworth in 1961. It is sited on the Malakoff overlooking the harbour and St Ives Bay below.
www.lakelandarts.org.uk:
Hepworth was born in Wakefield and the rugged rural landscape etched itself on her subconscious. In her seminal work, The Pictorial Autobiography, Hepworth said Perhaps what one wants to say is formed in childhood and the rest of one s life is spent trying to say it. As I watched the wave s crash against the land I imagined Hepworth seeing the same things and being inspired to create her iconic works. The sculpture I thought about the most was the twisting, swishing shapes of the sculpture most familiar, Oval Form (Trezion), which sits so comfortably outside Abbot Hall.
I visited the ancient standing stones, Men-an-Tol and Chun Quoit, that Hepworth spoke about and even named sculptures after. This experience gave me a greater understanding of how Hepworth saw sculpture in relation to landscape, how in the later years she imagined in rising out of the ground in a mysterious and magical fashion.
www.phillips.com:
"All my early memories are of forms and shapes and textures,she later revealed, "the hills were sculptures. Above all, there was the sensation of moving physically over the contours of fullnesses and concavities, through hollows and over peaks feeling, touching, seeing, through mind and hand and eye. The sensation has never left me. I, the sculptor, am the landscape." 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).
The outside of the artwork is smooth like a skin. I wouldn t be surprised if this would feel smooth and silky, even though this artwork is made of solid bronze.
The inner surface is rough with the color of pistachio, light green, copper brown. It looks like this is full of life and emotion.
The statue has round shapes: two ellipses and a circle. The ellipses are a residual form of the arm and the neck on the topside. The ellipses at the bottom- and de topside and the circle in the middle make the artwork into an abstract work of art.
The soft exterior and the rough interior, the ellipses and the circle are at service of the diagonal connection between the left- and the right-hand side. I see that two loved ones find each other with liveliness and excitement.
By Theo, www.artatsite.com
Vertaling
elkaar vinden
De buitenkant van het kunstwerk is glad gepolijst, als een huid. Het zou mij niet verbazen als dit glad en zacht zou aanvoelen, ook al is dit kunstwerk gemaakt van massief brons.
De binnenkant is ruw met kleuren van pistache, lichtgroen, koperbruin. Het lijkt alsof dit volop leven en emotie is.
Het beeld heeft ronde vormen: twee ellipsen en een cirkel. De ellipsen zijn de restvormen van de armen en de hals aan de bovenkant. De ellips aan de onder- en bovenkant en de cirkel in het midden, maken het kunstwerk tot een abstract kunstwerk.
De zachte buitenkant en de ruwe binnenkant, de ellipsen en de cirkel staan in dienst van de schuine verbinding tussen de linker- en de rechterkant. Ik zie dat twee gelieven elkaar hier vinden met veel leven en emotie.
Door Theo, www.artatsite.com
www.cornwalls.co.uk:
Epidauros II Bronze. This casting was one of an edition of seven made by Barbara Hepworth in 1961. It is sited on the Malakoff overlooking the harbour and St Ives Bay below.
www.lakelandarts.org.uk:
Hepworth was born in Wakefield and the rugged rural landscape etched itself on her subconscious. In her seminal work, The Pictorial Autobiography, Hepworth said Perhaps what one wants to say is formed in childhood and the rest of one s life is spent trying to say it. As I watched the wave s crash against the land I imagined Hepworth seeing the same things and being inspired to create her iconic works. The sculpture I thought about the most was the twisting, swishing shapes of the sculpture most familiar, Oval Form (Trezion), which sits so comfortably outside Abbot Hall.
I visited the ancient standing stones, Men-an-Tol and Chun Quoit, that Hepworth spoke about and even named sculptures after. This experience gave me a greater understanding of how Hepworth saw sculpture in relation to landscape, how in the later years she imagined in rising out of the ground in a mysterious and magical fashion.
www.phillips.com:
"All my early memories are of forms and shapes and textures,she later revealed, "the hills were sculptures. Above all, there was the sensation of moving physically over the contours of fullnesses and concavities, through hollows and over peaks feeling, touching, seeing, through mind and hand and eye. The sensation has never left me. I, the sculptor, am the landscape." 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).