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... Unto Heaven Will I Ascend (Paperback)
Loot Price: R558
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... Unto Heaven Will I Ascend (Paperback)
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List price R684
Loot Price R558
Discovery Miles 5 580
You Save R126 (18%)
Expected to ship within 12 - 17 working days
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As an American living in England, a conscious Jew who utilized
Christian symbols, a skillful modeler who introduced direct carving
into England, and a modernist who eventually came to dislike
abstraction for its own sake, Epstein did not fit neatly into the
artistic categories of his time. Apart from his still widely
admired naturalistic bronze portraits, Epstein's oeuvre remains
poorly understood and his reputation is dominated by his famous
Rock Drill from before World War I. As this book shows, Epstein
remained an avant-garde artist throughout his life, even if he
ignored modernist dogma as well as man-in-the-street prudery.
Gilboa's text reveals the man in all his genius, interpreting many
works in the light of Epstein's personal circumstances. In an
atmosphere of polarized attitudes to art and polite anti-Semitism
at the end of the 1920s growing rather less polite thereafter, the
outsider Jew Epstein deliberately became estranged from London's
art world. He responded to society's attitude towards him in a
series of bold projects- the monumental Genesis (1930) and Primeval
Gods (1931-32); the smaller carvings Chimera and Elemental (1932);
Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938)
and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and
again a carving, Lazarus (1947). One cannot ignore the symbolic
names of these sculptures. The discussion in this book will reveal
that in each case the name has a definite relation to the
sculpture's theme and essence, as well as to the personal concerns
of the sculptor. Almost all of these sculptures that Epstein
produced from the 1930s aroused a public outcry, causing one critic
to state that"a new carving by Mr. Epstein - good, bad or
indifferent - can still steal the headlines when criminal assault,
private or political, is out of season". It was only during the
1950s, following the trauma and emotional shock of World War II,
that new requirements for the expression of ideas and emotions
rather than for mere forms with which to play renewed the demand
for 'an Epstein' and his kind of 'content' sculpture, mainly in
public commissions. Epstein, by then in his seventies, was flooded
with work, and his sculpture - which employed Christian imagery to
convey universal ideas of consolation and hope to a war-weary
England - became newly relevant, gaining him the status of grand
old master of English sculpture.
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