|
Showing 1 - 3 of
3 matches in All Departments
Celebrating the generous gift of Barbara Hepworth's plasters to The
Hepworth Wakefield by the Hepworth Estate, this groundbreaking
publication combines a fully illustrated catalogue of the
sculptor's surviving prototypes in plaster, and occasionally
aluminium, with a detailed analysis of her working methods and a
comprehensive history of her work in bronze. In addition, insights
into the building which will be home to the collection are provided
through essays exploring the history of The Hepworth and, in a
contribution by David Chipperfield, the design of the new museum by
his architectural practice. A fascinating account of the sculptor's
connections with Wakefield Art Gallery also features. The
Hepworth's collection of over 40 unique, unknown sculptures are the
surviving working models from which editions of bronzes were cast.
They range in size from works that can be held in the hand to
monumental sculptures, including the Winged Figure for John Lewis's
Oxford Street headquarters. The majority are original plasters on
which the artist worked with her own hands and to scale. Providing
a unique insight into Hepworth's working processes, on which little
has been written, Barbara Hepworth: The Plasters will enhance
appreciation of her work as a whole. Drawing extensively on
archival records and photographs, this publication is an important
source for information about a significant collection of work, the
gallery which houses it and Hepworth in general.
Barbara Hepworth's work and ideas are illuminated in her own lucid
and eloquent words in this first collection of her writings and
conversations. The book makes available much that is out of print
and inaccessible, and includes a significant number of unpublished
texts. A surprisingly large body of work, it spans almost the whole
of Hepworth's artistic life, showing her innate gift for language
and desire to communicate to the public. Alongside the writings are
Hepworth's lectures and speeches, a selection of interviews and
conversations with writers as well as radio and television
broadcasts. The collection sheds new light on Hepworth's life, her
working practices, the sources of her inspiration, the breadth of
her intellectual interests and her deep engagement with
contemporary politics and society. The illustrations include
manuscripts and archive photographs from Hepworth's own collection.
Barbara Hepworth: The Sculptor in the Studio is the first study
devoted to Hepworth's St Ives studio in which the centrality of
Trewyn Studio and garden to her art and life is brought to the
fore. 'It affects my whole life & work most profoundly', she
wrote to a friend in 1949 shortly before acquiring it. A history
and a portrait of a unique place, the book illuminates the ways in
which the place and the work are bound together. It explores
Hepworth's working environment and the development of her practice
over a period of 25 years. The studio, and especially the garden
that Hepworth shaped, was the primary and ideal context in which
her sculptures were viewed. Following Hepworth's death in 1975,
Trewyn Studio was opened as the Barbara Hepworth Museum and
Sculpture Garden, fulfilling the hopes she had expressed at the end
of her life. The adaptation of Hepworth's studio-home to create the
Museum is examined in detail. The Museum was given to the Tate
Gallery in 1980, becoming the first of Tate's outstations and
helping to lay the foundations for Tate St Ives. It contains the
largest group of Hepworth's works, permanently on display in the
place in which they were created. Here the visitor is closest to
Hepworth's work and to the sources of her inspiration.
|
You may like...
Brightside
The Lumineers
CD
R194
Discovery Miles 1 940
|