cat., Tate Gallery, London 1993, p.88, fig.77
Though the use of colour had been a feature of Hepworth's sculpture since 1939, this would suggest that the matt finish, which contrasts with the high polish of the wood, was of equal concern.
However, there are numerous small cracks, some of which have necessitated the repainting of the interior, possibly by the artist. She evolved her ideas and her work as an influential part of an ongoing conversation with many other important artists of her time, working crucially in areas of greater abstraction while creating three dimensional objects. Simon Wallis Barbara Hepworth distinguished herself as a world-recognized sculptor in a period where female artists were rare.
David Lewis used Jung proposed that the mandala was a necessary step in the process of individuation - the integration of the conscious and unconscious into a whole individual. in col. front cover), Tate Gallery, London, Feb.-March 1985 (73, repr. The hollowed-out sculpture has a spiral form resembling a shell, a wave or the roll of a hill. ), Martin Hammer and Christina Lodder, 'Hepworth and Gabo: A Creative Dialogue' in Thistlewood 1996, p.120 (repr. The Art Writers Group writer-in-residence for west Cornwall discovers layers of local meaning in a Barbara Hepworth sculpture 'I had a studio room', she wrote later, 'looking straight towards the horizon of the sea and enfolded (but with always the escape for the eye straight out to the Atlantic) by the arms of the land to the left and the right of me. as one of 'the two final sculptures' of the period of experimentation that had started with
So The artist's statements validate Kate Doherty's recent reading of the work in terms of 'allusions to the womb and to the sheltering, caring function of the mother' (Doherty 1996). In the book Read made special mention of the mandala and Jung's interpretation of it. However, more contemporaneous critiques perceived I can't help feeling that a pure white matt ground ... would not only last but project my point of view. cat., Tate Gallery Liverpool 1994, pp.81, 83-4, 86, 109Andrew Causey, 'Liverpool and New Haven: Barbara Hepworth', , vol.136, no.1101, Dec. 1994, pp.860-1, repr. to demonstrate the continuity in her work and to distinguish her preoccupation with light and space from Henry Moore's organicism (Lewis Sept.-Oct. 1950). )Penelope Curtis, 'What is Left Unsaid' in Thistlewood 1996, p.159Claire Doherty, 'Re-reading the Work of Barbara Hepworth in the Light of Debates on "the Feminine"' in Thistlewood 1996, p.168Emma E. Roberts, 'Barbara Hepworth Speculatively Perceived within an International Context' in Thistlewood 1996, p.187, exh.
There are also areas of the exterior which have been filled. Part painted elm and strings 430 x 460 x 385 (14 1/2 x 15 1/4 x 13) on an oak base Purchased from the artist by Duncan Macdonald 1946, and bought back from the estate of his widow, Mrs Elizabeth Macdonald, by the artist 1958 , Wakefield City Art Gallery, May-July 1951, York City Art Gallery, July-Aug., Manchester City Art Gallery, Sept.-Oct. (27, repr. Hepworth analysed her own childrens' The 'radiating and parallel lines' of the stringing of Klein's proposition that the work of art was a response to an infantile attack in fantasy upon the mother and, specifically, her womb and its contents, may be seen to relate to the ovoid and enfolding forms that characterise Hepworth's sculpture of the 1940s. Y ya no hablemos de su simbolismo… Pelagos, («mar abierto», en griego), es el ejemplo perfecto en todos los sentidos. The interior space was painted pale blue with a very matt finish. (1943), which was enthusiastically praised by Hepworth (letter to Herbert Read, nd [1943]). , Una de las joyas menos conocidas del Louvre. I have used this idea in ' (Read 1952, section 4). (BH 63, private collection, repr. Implicit in Doherty's discussion is a knowledge of Melanie Klein's idea of art as a reparative process, with which Hepworth may have been familiar through her friendship with Adrian Stokes, a leading advocate of Kleinian theory. Dan Webb realiza verdaderos prodigios con un trozo de madera. as a negotiation of constructivist and organic aesthetics. The duality of the work's constructivist and organic aspects reflects Hepworth's wartime move away from the dogmatic Constructivism that she associated with Naum Gabo, Antoine Pevsner and their erstwhile colleagues in Russia. p.860Derek Pullen and Sandra Deighton, 'Barbara Hepworth: Conserving a Lifetime's Work' in Jackie Heuman (ed. Patrick Langley Daniel Sinsel Fred Grose , 1943-4 (BH 122, Scottish National Gallery of Modern Art, Edinburgh, comparative illustration): both are hollowed out wooden forms, their interiors painted pale blue and both are said to relate to the landscape. The form allows sufficient movement that there are considerably fewer radial splits than in many of Hepworth's other wooden pieces. Influenciada por la escultura primitiva y los paisajes de su tierra natal, Hepworth desarrolló un lenguaje escultórico fascinante … I am much more concerned with the way the colour is applied and the brush strokes than with the actual colour, which used to be pale blue. She elaborated, establishing a land-body duality as the underlying basis for her sculpture in general: 'the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face.