Barbara Hepworth: Working

“Light and space … are the sculptor's materials as much as wood or stone … I feel that I can relate my work more easily, in the open air, to the climate and the landscape.”

Barbara Hepworth

1947 - 1960
Source: Interview in Dialogues on Art, Edouard Roditi; London, 1960, pp. 91–92

Feeling , Light

“At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. I think art is anonymous. It's not competitive with men. It's a complementary contribution. I've said that and I do believe it, that one does contribute to art and that's nothing to do with being male or female... I don't think a good work of art can just be said to be feminine or masculine.... art's either good or isn't.”

Barbara Hepworth

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), pp. 15-16

Men , Art , Thinking

“I think all these new sculptors [after World War 2. ] – he Anthony Caro is not all that young though – are taking stand against abominable architecture since the war and I think rightly so. But again I feel it's not enough to be against something. You have to do something that will damn well replace it. Where do you put these sculptures?... I like to think that time is timeless and I wouldn't want to make a work which wouldn't last for more than ten years – nor a work that wouldn't go anywhere. It would make me terrible mad. Mind you, I have to wait to find for my work. It doesn't happen all that easily, but it does happen. It slips in somewhere. Before the war the architects were very much one with the sculptors, painters, everybody. We thought alike. Then the war was over.... the architects gave up coming to look at sculpture and painting.”

Barbara Hepworth

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 22

War , World , Feeling , Thinking

“[the 1960's began] with a feeling of tremendous liberation, because I at last had space and money and time to work on a much bigger scale.”

Barbara Hepworth

Interview with Alan Bowness, published in Bowness (ed.), The complete sculpture of Barbara Hepworth 1960–69, London, 1971, p. 7
1961 - 1975

Money , Feeling , Time

“I loved the family and everything to do with them. I loved the environment and the cooking. I used to cook and go in my studio. I had to have methods of working. If I was in the middle of a work and the oven burned or the children called for me, I used to make an arrangement with music, records, or poetry, so that when I went back to the studio, I picked up where I left off. I enjoyed it, you see; it was part of me.”

Barbara Hepworth

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 14

Love , Children , Family , Music

“I cannot write anything about landscape without writing about the human figure and the human spirit inhabiting the landscape, for me, the whole art sculpture is a fusion of these two element – the balance of sensation and the evocation of man in his universe. Every work in sculpture is either a figure I see, or a sensation I have, whether in Yorkshire, Cornwall or Greece, or the Mediterranean.”

Barbara Hepworth

'Studio International 171' – June 1966; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York 1991, p. 280
1961 - 1975

Art , Universe

“Working in the abstract way seems to release one’s personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity.... a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the future. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe.”

Barbara Hepworth

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 286

Law , Way , Knowledge , Universe

“The sculptor carves because he must. He needs the concrete form of stone and wood for the expression of his idea and experience, and when the idea forms the material is found at once. …. I have always preferred direct carving to modelling because I like the resistance of the hard material and feel happier working that way. Carving is more adapted to the expression of the accumulative idea of experience and clay to the visual attitude. An idea for carving must be clearly formed before starting and sustained during the long process of working; also, there are all the beauties of several hundreds of different stones and woods, and the idea must be in harmony with the qualities of each one carved; that harmony comes with the discovery of the most direct way of carving each material according to its nature.”

Barbara Hepworth

quote from an extract of 'Barbara Hepworth – the Sculptor carves because he must, The Studio, London, vol. 104, December 1932, p. 332
1932 - 1946

Beauty , Way , Feeling , Idea

“We visited Meudon [c.1938] to see Hans Arp and though, to our disappointment, he was not there and his wife, Sofie Täuber showed us his studio. It was very quiet in the room so that one was aware of the movement in the forms... I thought of the poetic idea in [Hans] Arp's sculptures. I had never had any first-hand knowledge of the Dadaist movement, so that seeing his work for the first time freed me of many inhibitions and this helped me to see the figure in landscape with new eyes... Perhaps in freeing himself from material demands his idea transcended all possible limitations. I began to imagine the earth rising and becoming human.”

Barbara Hepworth

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

Disappointment , Imagination , Idea , Knowledge

“I have to dedicate myself. Do you understand? I don't feel conflict in myself because if I do, my work doesn't go well. If there's conflict I have to sit down or go to sleep to solve it. And the only way to solve the problem is to produce really affirmative work which can only come – I can't make it come. I can't conjure it up. I can only go to sleep and hope it happens... You have to digest it and if you digest you can contribute.”

Barbara Hepworth

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 15

Hope , Way , Feeling , Understanding

“A chance remark by Ardini, an Italian master carver whom I met there [in Rome], that 'marble changes colour under different people's hands' made me decide immediately that it was not dominance which one had to attain over material, but an understanding, almost a kind of persuasion, and above all greater co-ordination between head and hand. This thought has recurred again and again ever since - and has developed my greatest interests; the reason why people both move differently and stand differently in direct response to changed surroundings; the unconscious grouping of people when they are working together, producing a spatial movement which approximates to the structure of spirals in shells or rhythms in crystal structure; the meaning of the spaces between forms, or the shape of the displacement of forms in space, which in themselves have a most precise significance. All these responses spring from a factual and tactile approach to the object.”

Barbara Hepworth

Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952
1947 - 1960

People , Spring , Understanding , Change

“A constructive work is an embodiment of freedom itself, and is unconsciously perceived, even by those who are consciously against it. The desire to live is the strongest universal emotion, it springs from the depths of our unconscious sensibility – and the desire to give life is our most potent, constructive, conscious expression of this intuition.”

Barbara Hepworth

1932 - 1946
Source: 'Circle', 1937; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York 1991, p. 279

Life , Spring , Freedom , Universe

“In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.”

Barbara Hepworth

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 285

Love , Feeling , Search , Nature

“Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. […] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or […] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind.”

Barbara Hepworth

Quote from a conversation with J.P. Hodin, 18 August 1959; in an extract from J.P. Hodin, Barbara Hepworth, London, 1961, Two Conversations with Barbara Hepworth: 'Art and Life' and 'The Ethos of Sculpture', pp. 23–24
1947 - 1960

Life , World , Art , Way

“Saw a magnificent Koros – tall, fierce and passionate bigger than life size – in the Museum. A heavenly work – the backs and buttocks in relation to the hip and waist – an inspiration. I thought the fragment of leg and calf (attached below the knee) was falsely attributed.”

Barbara Hepworth

Quote from Barbara Hepworth, in her 'Greek diary' - 1965; J.P Hodin, European Critic; London: Corby, Adams and MacKay
1961 - 1975

Life , Passion , Falseness