LYNN CHADWICK (b. 1914)

Two Seated Figures I

細節

LYNN CHADWICK (b. 1914)
Two Seated Figures I
signed 'CHADWICK' (on the right leg of the female figure) and signed, numbered and dated 'CHADWICK 662 1973 4/6' (on the left leg of the male figure)
bronze with black and green patina
Female:
height: 70½ in. (179 cm.)
width: 52 in. (132 cm.)
depth: 52 in. (132 cm.)
Male:
height: 67½ in. (171 cm.)
width: 67½ in. (171 cm.)
depth: 67½ in. (171 cm.)
Executed in 1973; this work is number four from an edition of six

來源

Galeria Freites, Caracas.

出版

W. J. Strachan, "The Sculptor and His Drawings, no. 5: Lynn Chadwick", The Connoisseur, August 1974, p. 285, no. 179, pl. 11 (another cast illustrated).
N. Koster and P. Levine, Lynn Chadwick: The Sculptor and His World, Leiden, 1988, p. 105 (another cast illustrated in color).
D. Farr and E. Chadwick, Lynn Chadwick Sculptor, Oxford, 1992, no. 662 (another cast illustrated).

拍場告示

Please note the caption for Henry Moore's King and Queen should read "The work illustrated above has been reproduced by permission of the Henry Moore Foundation"

拍品專文

One persistent and particularly English theme in the work of Henry Moore is that of landscape imagery; the concept that there is an equivalence to be found between the planes and hollows of the human form and in landscape. Chadwick, however, although often classified as a follower of Moore, elaborates upon the traditional archetypes between the figure and landscape, exploring what Edward Lucie-Smith termed "social observation" (E. Lucie-Smith, Sculpture Since 1945, New York, 1987, pp. 22 and 35). Chadwick, who trained as an architect, was among the group of British artists who made a triumphant appearance at the Venice Biennale of 1952. Chadwick's "watchers" and predatory figures typify the imagery of British sculpture in the 1950s, where the fears and hopes of Post-War society were incorporated into the cultural atmosphere of the time. Indeed, Two Seated Figures I has a commanding presence; the scale is at once architecturally monumental and personally accessible. The closeness of the figures, nestled but not touching, invites the viewer into an intimate space which belies the grandeur of their size.