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Barbara Hepworth (1903-1975)
Barbara Hepworth (1903-1975)
Barbara Hepworth (1903-1975)
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Barbara Hepworth (1903-1975)
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芭芭拉·赫普沃斯(1903 - 1975)


芭芭拉·赫普沃斯(1903 - 1975)
簽名、編號、題識及鑄造標記:Barbara Hepworth 1/4 Morris Singer FOUNDERS LONDON(背面)
銅雕 深褐色及綠色銅銹 拋光銅雕
高:94 1/8英寸(238.8公分)
C. Nemser著《Art Talk: Conversations with 12 Women Artists》,紐約,1975年,第20、23及32至33頁(《The Family of Man》群體插圖)
A. Bowness著《Barbara Hepworth, A Pictorial Autobiography》,倫敦,1985年,第131頁,編號349(《The Family of Man》群體插圖)
A.M. Hammacher著《Barbara Hepworth》,倫敦,1987年,第198頁,編號178(另一鑄版插圖)
S. Festing著《Barbara Hepworth: A Life of Forms》,倫敦,1995年,第288至299頁(《The Family of Man》群體討論)
P. Curtis著《Barbara Hepworth》,香港,1998年,第70至73頁(《,The Family of Man》群體插圖)
C. Stephens編「Barbara Hepworth: Centenary」展覽目錄,泰特聖艾夫斯美術館,2003年,第28、36及134至135頁(另一版本彩色插圖,第137頁;另一鑄版插圖,第134頁)
S. Bowness編《Barbara Hepworth, The Plasters, The Gift to Wakefield》,法納姆,2011年,第43至45、59及63頁(, Farnham, 2011, pp. 43-45, 59 and 63(插圖,第45頁,圖號37)
P. Curtis著《Barbara Hepworth, British Artists》,倫敦,2013年,第59頁(《,The Family of Man》群體插圖,圖66)
S. Bowness編《Barbara Hepworth, Writings and Conversations》,倫敦,2015年,第226、243、246至250、257、264、283、287及294頁(《The Family of Man 》群體討論)
S. Bowness著《Barbara Hepworth: The Sculptor in the Studio》,倫敦,2017年,第66、70、109、118、143頁(石膏插圖,第67頁,圖70),
1973至1976年 肯伍德府 倫敦(長期借展)
1979年5月至6月 「Barbara Hepworth: Carvings and Bronzes」展覽 馬博羅畫廊 紐約 編號41(插圖)
1991年4月至5月 「The Marlborough Gallery Re-Opening Exhibition」展覽 馬博羅畫廊 倫敦 第24頁(彩色插圖,第25頁)
1992年9月至11月 「Modern Sculpture」 展覽 馬博羅畫廊 紐約 編號23(彩色插圖)
1996年10月至11月 「Barbara Hepworth: Sculptures from the Estate」展覽 威爾頓斯坦公司 紐約 第72頁,編號25(彩色插圖,第73頁)
《父母II》已被收錄於由 Sophie Bowness編纂的赫普沃斯雕塑作品全集中,編號BH 513e


Vanessa Fusco
Vanessa Fusco Senior Vice President, Head of Evening Sale and Head of Sales

Lot essay

I try to make sculptures which will affirm and reaffirm the magic of the will of life and the miracle of rebirth and continuity in the Universe.”

Barbara Hepworth

“I just had a new phase the last year. It’s not so much new as a fulfilment on a big scale of an idea which has cropped up all my life, and that is a group of figures—and I call them [The Family of Man]” (interview with R. Sharpe, August 1971, quoted in S. Bowness, ed., op. cit., 2015, p. 243). So Barbara Hepworth described the conception of her great, career-defining work, The Family of Man, of 1970. Comprising nine monumental bronze abstract figures, this valedictory group was the culmination of Hepworth’s abiding exploration into the theme of human interaction by way of multi-form sculpture, and the realization of a life-long ambition to create a family grouping set within the landscape.

Standing at over two meters high, Parent II is part of this group, each piece of which represents a stage of human life: Youth, Young Girl, Bridegroom, Bride, Parent I and II, Ancestor I and II, and finally Ultimate Form. Appearing as if a prehistoric relic, while at the same time inherently of its time, Parent II, with its mythic and autobiographical affinities, stands as the visual embodiment of Hepworth’s belief that sculpture should be, “an affirmative statement of our will to live.” “I was never so happy as when making these,” she recalled (quoted in E. Mullins, “Barbara Hepworth’s Family,” Daily Telegraph Magazine, London, 7 April 1972, in ibid.,p. 250).

In sculpture I am vertical. I always have been like that.”

Barbara Hepworth

Hepworth created The Family of Man as individual, free-standing figures that also interact as an outdoor ensemble. Each work is independent and unique in its own right, an effect that stems from Hepworth’s decision to suggest the complexity of the human figure and generational progression by vertically stacking component elements: she employed two pieces in Youth and Young Girl, three in The Bride and Parent II, and four in The Bridegroom, Ultimate Form, Parent I, Ancestor I and Ancestor II. Though entirely abstract in their construction, each sculpture is invested with visual equivalences to the stage of life they represent. Parent II and its partner, Parent I, are imbued with a sense of solidity, stability and monumentality; in the present work, the geometric bronze piece is ascendant and resolute, the more rounded ones softer and unthreatening, together creating a composition that is resoundingly whole and immutable.

Parent II and the rest of the Family of Man group were born out of Hepworth’s familiarity with and reverence for the untamed, dramatic, and windswept Cornish landscape. In August 1939, shortly before the outbreak of the Second World War, Hepworth and her husband Ben Nicholson left London and arrived in Cornwall with their young triplets. Both she and Nicholson were immediately inspired by their new home. It was not until 1943, however, that Hepworth began working again, having been hindered both by wartime supply shortages as well as by a lack of space in their first Cornish home. Moving to a new, larger house on Carbis Bay, Hepworth was finally able to carve once more, her knowledge of the Penwith peninsular now informing her work.

“It was during this time that I gradually discovered the remarkable pagan landscape which lies between St. Ives, Penzance and Land’s End,” she described, “a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape... I was the figure in the landscape and every sculpture contained to a greater or lesser degree the ever-changing forms and contours embodying my own response to a given position in that landscape... There is no landscape without the human figure…” (quoted in Barbara Hepworth: Carvings and Drawings, London, 1952, n.p.).

I cannot write anything about landscape without writing about the human figure and human spirit inhabiting the landscape. For me, the whole art of sculpture is the fusion of these two elements—the balance of sensation and evocation of man in this universe.”

Barbara Hepworth

At the end of 1950, Hepworth moved to Trewyn Studio in St. Ives, which was to serve as her home for the rest of her life. In the latter years of her career, she devoted herself to the standing form: her late oeuvre is defined by groups of monumental vertical, multi-partite works that are not only more complex than her prior work, but are imbued with a greater sense of mystery and magic. “It’s so natural to work large—it fits one’s body… I’ve always wanted to go to my arm’s length and walk round things, or climb up them. I kept on thinking of large works in a landscape: this has always been a dream in my mind” (quoted in P. Curtis and A.G. Wilkinson, Barbara Hepworth: A Retrospective, exh. cat., Tate Gallery Liverpool, 1994, p. 81).

The initial idea for The Family of Man was conceived in 1947. Hepworth wanted to create a sculpture consisting of individual figures as a single group. “When this group first took shape in her mind after the Second World War,” Edwin Mullins wrote, “she saw the figures, for reasons she cannot fully understand nor explain, rising out of the sea” (S. Bowness, ed., op. cit., 1972, p. 248). Given the impracticalities of staging the work in this environment, Hepworth decided instead to place the figures on a stretch of the Cornish countryside. Appearing like prehistoric rock formations or Stone Age megaliths or menhirs, these sculptures have an innate kinship with the natural world, and, by extension, man’s own relationship with the landscape. Embodying the eternal cycle of life and nature, Parent II and the Family of Man group stand as poignant and powerful reflections of the human experience as well as expressing Hepworth’s fundamental desire to “make sculptures which will affirm and reaffirm the magic of the will of life and the miracle of rebirth and continuity in the Universe” (quoted in op. cit., 2015, p. 222).

Of the 4 individual casts of Parent II, one is located at The Hepworth Wakefield, West Yorkshire. There are additionally 2 artist's proofs of The Family of Man group, including Parent II, which are at the Yorkshire Sculpture Park and PepsiCo Sculpture Garden, Purchase, New York.

Lot Essay Header Image: Barbara Hepworth, from The Family of Man – Nine Bronzes and Recent Carvings, exh. cat., Marlborough Gallery, London, 1972. Photograph by Foresees. © Bowness.

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