Art@Site Barbara Hepworth Sea Form, Atlantic Wisconsin

Barbara Hepworth


Sea Form, Atlantic

Lynden Sculpture Garden
What caused these holes in the stone?
Have falling drops worked for centuries for coming through?
Or is the stone hardened after the holes were made in clay?
Was there a human in the great form with the two openings? Do we see the rest form of a fossil of an old human? Are we looking at the form of a ancestor?
The earth is old. Much older than we can imagine.
Our current generation lives on this earth and will be encompassed by the earth. How is our generation handling this old body? Do we care for it? How will the earth look like after our generation is encompassed by it?
Hopefully we continue to admire it.
By Theo,

Hoe zijn deze gaten in deze steen ontstaan?
Hebben vallende druppels er eeuwen over gedaan om erdoor heen te komen?
Of is de steen verhard nadat de gaten gemaakt zijn in klei?
Zou er een mens geweest zijn in de grote vorm met twee openingen? Zien we hier de restvorm van een fossiel van een oude mens? Kijken we naar de vorm van een voorouder?
De aarde is oud. Veel ouder dan wij ons kunnen voorstellen.
Onze huidige generatie leeft op deze aarde en zal in de aarde opgenomen worden. Hoe gaat onze huidige generatie om met dit oude lichaam? Verzorgen wij haar? Hoe ziet de aarde eruit nadat onze generatie erin opgenomen is?
Hopelijk blijft het ons bewonderen.
Door Theo,
Standing at over two metres high, it is one of a great series of large-scale bronze sculptures Hepworth made in the late 1950s and 60s in which she sought to invoke a deep sense of the human figure and the landscape through a single, generalised form that she hoped would be displayed in the open air.
‘The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens, and even pinks of strange hues, the lighthouse and its strange rocky island was an eye, the island of St Ives an arm, a hand, a face. The rock formation of the great bay had a withinness of form which led my imagination straight to the country of West Penwith behind me although the visual thrust was straight out to sea. The incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with feldspar and mica.
The rich mineral deposits of Cornwall were apparent on the very surface of things: quaz, amethyst and topaz, tin and copper below in the old mine shafts, and geology and pre-history – a thousand facts induced a thousand fantasies and forms and purpose, structure and life, which had gone into the making of what I saw and what I was.’ (Barbara Hepworth, quoted in H. Read, ‘Barbara Hepworth’, in exhibition catalogue, Barbara Hepworth, New York, Marlborough-Gerson Gallery, 1966, n.p.)
The sculpture comprises a single large curved free-standing form, similar to a shield, with contrasting rough and smooth surfaces with brown or green patination, and five pierced apertures that resemble holes in a sea shell. Like Hepworth's Single Form (1961), it was based on Neolithic standing stones at Chûn Castle hillfort site in West Cornwall. It was part of a series of sculptures that took inspiration from the cliffs and caves on the coastline near Porthcurno on the Penwith peninsula. Other works in the series include Curved Form (Bryher) (1961), Oval Form (Trezion) (1961Rock Form (Porthcurno) (1964).
Dame Jocelyn Barbara Hepworth 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. 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 Brâncuși. Hepworth later became involved with the Paris-based art movement, Abstraction-Création. 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 Lon and edited by Nicholson, Naum Gabo, and Leslie Martin.
Hepworth, with Nicholson, gave 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).