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Barbara Hepworth cytaty
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Dame Barbara Hepworth – rzeźbiarka brytyjska, członek grup Abstraction-Création i Unit One. Razem z Henrym Moore'em byli pionierami brytyjskiej awangardy lat 30. i 40. XX wieku.

Ukończyła rzeźbę w Leeds School of Art i Royal College of Art w Londynie, gdzie poznała malarzy Raymonda Coxon i Ednę Ginesi oraz rzeźbiarza Henry Moore'a. Podczas pobytu we Włoszech poślubiła rzeźbiarza Johna Skeapinga . Oboje zaczęli rzeźbić w kamieniu. Rok później powrócili do Londynu. Dołączyli do London Group oraz Seven and Five Society. Małżeństwo przestało istnieć w 1933. Artystka wyszła powtórnie za mąż pięć lat później, a w 1939 przeniosła się na stałe wraz z mężem, Benem Nicholsonem, do St Ives w Kornwalii. Dziś znajduje się tam Muzeum Barbary Hepworth będące częścią Tate St Ives.

Prace Barbary Hepworth prezentowane na zbiorowych wystawach w 1932 i 1933 roku pokazały skłonność artystki do abstrakcji. Od tego czasu abstrakcja stała się głównym kierunkiem jej twórczości. Podobnie jak Moore'a interesowały ją zagadnienia przestrzeni integralnej z rzeźbą oraz podkreślanie w niej charakterystycznych cech materiału, z którego jest zrobiona. Owe wydrążone na przestrzał otwory stały się jednym z bardziej rozpoznawalnych elementów jej dzieł. Rzeźbiarka odwiedziła w Paryżu warsztaty Arpa, Brancusiego, Mondriana, Braque'a i Picassa. Dołączyła także do ugrupowania Abstraction-Création. Wikipedia  

✵ 10. Styczeń 1903 – 20. Maj 1975
Barbara Hepworth Fotografia
Barbara Hepworth: 40   Cytatów 0   Polubień

Barbara Hepworth: Cytaty po angielsku

“It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.”

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Barbara Hepworth

Interview in The Studio (1962)
1961 - 1975

“I've found opposition to my teaching because I said it's not the strength which does it, it's a rhythm. You don't need huge muscles great strength. In fact, if you have that and misuse it, you're going to damage the material. It's absurd. It's a rhythmical flow of an idea, whichever sex you are.”

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Barbara Hepworth

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

“There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside. Light gives full play to our tactile perceptions through the experience of our eyes, and the vitality of forms is revealed by the interplay between space and volume”

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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

“Sculpture communicates an immediate sense of life - you can feel the pulse of it. It is perceived, above all, by the sense of touch which is our earliest sensation; and touch gives us a sense of living contact and security. […] That has nothing to do with the question of perfection, or harmony, or purity, or escapism. It lies far deeper; it is the primitive instinct which allows man to live fully with all his perceptions active and alert, and in the calm acceptance of the balance of life and death. In its insistence on elementary values, sculpture is perhaps more important today than before because life's continuity is threatened and this has given us a sense of unbalance.”

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Barbara Hepworth

Quote from a conversation with J.P. Hodin, 28 August 1959; 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

“There is an oval sculpture of 1943. I was in despair because my youngest daughter, one of the triplets, had osteomyelitis. In those days the war was on and you couldn't get anything. She was ill for four years. I thought the only thing I can do to help this awful situation, because we never knew if it would worsen, is to make some beautiful object. Something as clean as I can make it as a kind of present for her. It's happened again and again. When my son died, he was killed [in the war], it's the only way I can go on.”

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Barbara Hepworth

Źródło: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 19

“Sculpture, to me, is primitive, religious, passionate, and magical.”

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Barbara Hepworth

Quote in Hepworth's letter to nl:Bram Hammacher, February 1955, cited in Barbara Hepworth, B. Hammacher, (first published 1968), revised edition, London, 1987, p. 117
1947 - 1960

“Ascended Kynthos alone, the cave of Apollo – half-way magnificent and majestic. A pool with fine fig trees nearby full of giant (sacred?) toads – leaping and barking. Also green frogs.”

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Barbara Hepworth

1961 - 1975

“One of the mysteries is how the human mind can hear a piece of music, a symphony from the beginning to the end, before beginning; or see a sculpture finished all the way round, when it doesn't exist. Now these faculties are the sort faculties which are needed in sciences, math, and medicine and all kind of things. But if one has them, one has to learn to use them... You can't start with a block and say: 'Now it's going to dictate me.”

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Barbara Hepworth

You [the artist] dictate to it.
Źródło: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), pp. 24-25

“The Acropolis – the spaces between the columns – the depth of flutings to touch – the breadth, weight and volume – the magnificence of a single marble bole up-ended -. The passionate warm colour of the marble and all-pervading philosophic proportion and space.”

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Barbara Hepworth

1961 - 1975

“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.”

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Barbara Hepworth

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