What does it mean for a sculpture to be described as 'organic' or a
diagram of 'morphological forces'? These were questions that
preoccupied Modernist sculptors and critics in Britain as they
wrestled with the artistic implications of biological discovery
during the 1930s. In this lucid and thought-provoking book, Edward
Juler provides the first detailed critical history of British
Modernist sculpture's interaction with modern biology. Discussing
the significant influence of biologists and scientific philosophers
such as D'Arcy Wentworth Thompson, Julian Huxley, J. S. Haldane and
Alfred North Whitehead on interwar Modernist practice, this book
provides radical new interpretations of the work of key British
Modernist artists and critics, including Henry Moore, Barbara
Hepworth, Paul Nash and Herbert Read. Innovative and
interdisciplinary, this pioneering book will appeal to students of
art history and the history of science as well as anyone interested
in the complex, interweaving histories of art and science in the
twentieth century. -- .
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