September 3, 2020
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Two Forms (Divided Circle) (BH 477) is a bronze sculpture by Barbara Hepworth, designed in 1969. > Call 0845 017 6965 (Mon-Fri, 9.30am-5pm). pp.48, 113, Reproduced: The decade began with the large scale, ), encompassed works designed to include the viewer, such as, , 1966 (BH 433, Estate of the artist, on loan to the Barbara Hepworth Museum, St Ives [Tate Gallery, , 1968 (BH 473, University College, Cardiff, repr. Hepworth described the task of the artist in religious terms, saying that an artistic sensibility revealed a “vision of a world that could be possible . Photo Bob Berry, Barbara Hepworth’s Winter Solstice, 1971 screenprint on paper (Hepworth Estate), Barbara Hepworth’s Construction I, 1965, in oil and pencil on gesso-prepared board; from the Ingram Collection of Modern British Art. She started work at the beginning of 1970, her design - which drew on her 1969 Aegean Suite of prints - was accepted in June and the building was opened in September 1972 (ibid.). ibid., pl.183), and ended with, . [1], The sculpture is considered to be one of Britain's most recognisable works. I was in an absolute fever of ideas, without much hope of fulfilment' (ibid., p.12). Opening hours: Wednesday to Sunday 12 p.m. to 5 p.m. www.dow.cam.ac.uk/cultural-life/heong-gallery. Such piercings enabled her to sculpt space as well as matter, and to direct viewers to look beyond the material. Barbara Hepworth © Bowness, 2019Barbara Hepworth’s Construction I, 1965, in oil and pencil on gesso-prepared board; from the Ingram Collection of Modern British Art. ), , Marlborough Fine Art, summer 1972 (31ý, repr. p.129) but, in keeping with similar table-top versions of larger works, was most likely to have been an independent reworking of the same concept. Masters of the 19th and 20th Centuries, Marlborough Fine Art, summer 1972 (31ý, repr. Read reports from issues stretching back to 1863, search for your parish or see if any of the clergy you know get a mention. This exhibition brings together a selection of works made by Hepworth during the last two decades of her life, which complement and connect with aspects of Divided Circle, including its composition, presence, and associations. In these works Hepworth used the semi-circular form to create the illusion of a rocking motion in a manner which echoed Terry Frost's paintings based upon the movement of boats in St Ives harbour, such as Green, Black and White Movement, 1951 (Tate Gallery T01501). Its slightly awkward quality is enhanced by the disposition of the individual elements: set at an angle to each other and stepped one slightly behind the other. Bowness 1971, p.49) was cast in polished bronze in an, , 1970, rev. ibid., pl.160-1) and Three Obliques (Walk In), 1968 (BH 473, University College, Cardiff, repr. The two semi-circles taper towards the bottom and their outer edge. in col. on cover), , Plymouth City Art Gallery, June-Aug. 1970 (54ü), , Hakone Open-Air Museum, Japan, June-Sept. 1970, (31ü, repr. Hepworth insisted that she did not work from, (BH 478, Barbara Hepworth Estate, repr. ), Sculpture Conservation: Preservation or Interference?, Aldershot 1997, pp.124-5, repr. in col. BARBARA HEPWORTH was known to stalk around any new materials brought into the grounds of her studio. A cast of this sculpture was controversially installed at Salisbury Cathedral by Hepworth’s friend and student, the Revd Professor Moelwyn Merchant. in col.) . Semi-circles, circles, and holes abound in these works with both sun and moon serving as inspiration. Barbara Hepworth © Bowness, 2019. E&OE, 19 October 2020Creativity out of crisis: Hymns and worship webinarIn association with RSCM, this online event will explore creative uses music and liturgy in the context online and socially distanced worship. ed. The artist told Ben Nicholson how she conceived of these works in physical and visual terms: 'So much depends, in sculpture, on what one wants to see through a hole!' At 369 mm (14 1/2 ins) high, Maquette for Divided Circle in col. p.63) One of the semi-circular sections is pierced by a cylindrical hole which, on one side, is set within a semi-circular concavity. 'Maybe in a big work I want to see the sun or moon. Traces of lacquer, which has disintegrated, suggest that the artist wanted to retain the shine on the inner surfaces even while out of doors. The physicality and relationality of this approach carried over into its viewing, as her sculptures encouraged movement around and through, together with touch, and, once she had begun piercing her materials, the act of looking through these pierced shapes. 1987, p.200). Tate Gallery conservators and the artist's executors have discussed the possibility of polishing and relacquering the bronze (Tate Gallery conservation files). Again, the materiality of this work and the physicality of our response was important to Hepworth, who described it as a “weighty bird in the hand”. Heong Gallery, New York, March-April 1971 ( 9ý, repr. Variation, 1970, rev and Garden... Last edited on 25 August 2020, at 08:42 sculpture that invites viewers to look beyond the material Bretton,! Last edited on 25 August 2020, at 08:42 neighbouring form, the artist 's executors have the. Of a wish to “ do an abstract crucifixion ” Syon Park, summer (... 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