Wilkinson, Barbara Hepworth: A Retrospective , exh. Read more. Her work exemplifies Modernism and in particular modern sculpture. Spotted a problem? Let us know. Listen to and watch an in-depth visual description of this artwork by artist Dame Barbara Hepworth.
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In Tate St Ives. Modern Conversations. In Tate Britain. See all artworks on display. Today, her polished sculptures with their complex interiors are highly prized for their tensions — between light and darkness, solidity and weightlessness — and she is celebrated for having revolutionised the possibilities of carving.
In Hepworth travelled to Italy to learn traditional marble carving from a master carver named Giovanni Ardini. Her trip also included visits to the Carrara marble quarries and the study of Romanesque and Renaissance sculpture. While in Italy, Hepworth was awarded second place in the Prix de Rome art scholarship programme, losing out to the British sculptor John Skeaping. Hepworth and Skeaping married the following year in Florence before moving to Rome.
The negative space — which Hepworth used to explore balance in forms — became a hallmark of her career, and is considered her most important contribution to abstract art.
Her work, Three Forms below , also offered in the Modern British and Irish Art Evening Sale, represents a high point in her stark, abstract exploration of size, shape, texture and space. To create her abstract shapes, Hepworth employed a technique known as direct carving — in which the initial carving produces the final form — rather than creating preparatory maquettes and models.
Her contemporary Henry Moore was another advocate of the technique; the pair studied together at Leeds College of Art and the Royal College of Art in London, and shared a long, friendly rivalry.
Dame Barbara Hepworth , Curved form with inner form anima , Instead, she focused her attention on drawing and studies. The small seaside town and Cornish countryside nevertheless made an impression on Hepworth, much as the Yorkshire landscape of her youth had. Her abstract work shifted to include influences of natural shapes and landscapes.
In she bought a house and studio at St Ives, where she lived for the rest of her life. Though she had often felt in Moore's shadow in terms of fame and recognition, Hepworth's public visibility increased when her work was shown at the Venice Biennale in and as part of the Festival of Britain in Hepworth's marriage to Nicholson dissolved in the same year, although he remained in St Ives until Her work was considerably set back by her reaction to the death of her son Paul in a plane crash in After she had recovered, Hepworth began to work on a larger scale, taking inspiration from her travels on a restorative visit to Greece.
In she began to work in bronze and other metals, allowing her to create work in small editions to keep up with the increasing demand. Her work continued to be popular, and she was frequently dubbed the greatest living female sculptor. Hepworth's frequent use of cross-hatching strings, rods or even fishing line in her harder sculptural forms became such a well-known feature in her work that the satirical magazine Punch published a humorous cartoon in depicting the artist making her sculpture by hand-stitching.
She was appointed a Dame in Britain the female equivalent of being dubbed a knight , and made a Trustee of the Tate Gallery until , its first female trustee. She worked up until her death in , which was caused by a fire in her studio at St Ives. Her obituary in The Guardian described her as "probably the most significant woman artist in the history of art to this day," though many might differ. Nonetheless, it points to Hepworth's significant standing as a popular artist in her own day.
Along with her friend Henry Moore, Hepworth was fundamental in establishing a characteristic vocabulary of modern British sculpture. Through a shared interest in the ideal of "truth to materials", or to a sculptural form dictated in part by the inherent properties of the media used, Hepworth and Moore created an approach focused on process and materials that was highly influential for artists as diverse as Eduardo Paolozzi and Anthony Caro.
Hepworth also remains a key figure in the history of women artists and has been cited as inspirational by many contemporary figures, including Tracey Emin and Charlotte Moth. The School of Paris had a lasting effect on both Hepworth and Nicholson as they became key figures in an international network of abstract artists.
By now married and with triplets as well as a son from her first marriage, when war broke out in , Hepworth and Nicholson moved to St Ives. As she had found, the wild beauty of the surrounding terrain offered a counter to the disruption and destruction of the war.
And, like her, those artists made paintings and sculptures inspired by the place and the forces and their experience of nature. The whole of this Yorkshire background means more to me as the years have passed. I draw on these early experiences not only visually in texture and contour, but humanly. The importance of man in landscape was stressed by the seeming contradiction of the industrial town springing out of the inner beauty of the country.
In her lifetime, however, she was also a major international figure, showing her work in exhibitions around the globe. As a woman in a largely male-dominated art-world, Hepworth took an active role in the way her work was presented.
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