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Lot Essay
The first of Sutherland's standing forms was executed in 1949 and the theme engaged him for a further four years. These works evolved from his increasing fascination with objets trouvés. Sutherland described his forms as 'a sort of cross between a garden statue such as one might see in Italy, or in a château in France, or in an old garden in England, for that matter. It was a thing in a setting; and that was really one of the reasons why those were used in that way' (see The Listener, LXVIII, 192, p. 133).
On another occasion Sutherland explained, 'The standing forms stemmed from seeing figures in gardens - half hidden in shade. At the time, I wanted to try and do forms in such a setting which were not figures but parallel to figures - figures once removed. They do not of course mean anything. The forms are based on the principles of organic growth, with which I have always been preoccupied ... I find it necessary to catch ... the essence of the presence of the human figure ... by a substitution ... . They give me a sense of the shock of surprise which direct evocation could not possibly do' (see J. Hayes, The Art of Graham Sutherland, Oxford, 1980, p. 30).
On another occasion Sutherland explained, 'The standing forms stemmed from seeing figures in gardens - half hidden in shade. At the time, I wanted to try and do forms in such a setting which were not figures but parallel to figures - figures once removed. They do not of course mean anything. The forms are based on the principles of organic growth, with which I have always been preoccupied ... I find it necessary to catch ... the essence of the presence of the human figure ... by a substitution ... . They give me a sense of the shock of surprise which direct evocation could not possibly do' (see J. Hayes, The Art of Graham Sutherland, Oxford, 1980, p. 30).