Is Drawing for Sculpture (Santorin) under copyright?

Yes, this artwork is still under copyright.

What is the thematic context of Drawing for Sculpture (Santorin)?

modern sculpture, surrealist inspiration, greek landscape, creative revival, sketchbook record

Вземете гiclée на Drawing for Sculpture (Santorin)

Бързи факти

Medium: Pencil & crayon on paper
Influences: Surrealism
Subject or theme: Greek landscape inspiration
Title: Drawing for Sculpture (Santorin)
Year: 1955
Artist: Barbara Hepworth
Dimensions: 38 x 58 cm

Описание на колекционерския предмет

The title of this work refers to Hepworth’s travels in Greece in August, 1954. Her son Paul had been killed in an air crash the previous year, and her friend Margaret Gardiner arranged the Greek trip to help her recover from the overwhelming grief. The travels revived Hepworth, and she later wrote that the ‘forms in Greece have been a constant source of inspiration.’ The title of this work refers to the island known today as Santorini, a volcanic site with a surging landscape of craters. Hepworth wrote: ‘[t]he indescribable beauty of Santorin and the height, breadth and depth and colour of Phira on the peak of the crater’s lip is not possible to take in from any photograph.’ The shapes in Drawing for Sculpture (Santorin) draw upon the curves of these craters and capture some of the vivid colours Hepworth saw in the volcanic rocks and flowers, several of which she pressed within the pages of her sketchbook.Pencil and crayon on paper. Presented to the Wakefield Art gallery by Mrs Hazel McKinley, 1956. Wakefield Permanent Art Collection (The Hepworth Wakefield) Barbara Hepworth © Bowness.

Подобни произведения

Рой Лихтенщайн

Modern Sculpture with Apertures

Барбара Хепворт

Two Forms with White (Greek)

Умберто Боччони

Study for sculpture 'Empty and full abstracts of a head'

Бен Нишиълън

1931–1936 (still life – Greek landscape)

josiah wedgwood & thomas bentley

Landscape Model for Total Reflective Abstraction (V)

Биография на художника

Barbara Hepworth: A Pioneer of Modern Sculpture

Barbara Hepworth (1903–1975) stands as one of the most influential figures in twentieth-century British art, recognized for her groundbreaking contributions to modern sculpture and her unwavering dedication to exploring fundamental questions about form and space. Born Jocelyn Barbara Hepworth in Wakefield, Yorkshire, she possessed an innate fascination with natural forms—particularly pebbles and shells—which would profoundly shape her artistic vision throughout her life. This early sensitivity to texture and materiality foreshadowed the meticulous craftsmanship that characterized her mature oeuvre.

Early Life & Education: Hepworth’s formative years were marked by a deep connection to the Yorkshire landscape, instilled in her by her father, Herbert Hepworth, who worked as a civil engineer for the West Riding County Council. Her artistic inclinations blossomed during her studies at Leeds School of Art and subsequently at the Royal College of Art in London (1920–1924), where she forged an enduring friendship with Henry Moore—a relationship that would continue to inspire collaboration and mutual admiration throughout their careers.
The Surrealist Influence & Unit One: Hepworth’s involvement with the Unit One art movement, alongside Ben Nicholson, Paul Nash, and others, represents a pivotal moment in British artistic history. Embracing abstraction as a response to the anxieties of the interwar period, Unit One sought to synthesize surrealism and geometric precision—a stylistic approach that profoundly impacted Hepworth's artistic trajectory.
Sculptural Innovation & Material Exploration: Hepworth’s sculptural style evolved dramatically over time, moving from simplified naturalistic forms to increasingly complex explorations of spatial relationships and material textures. She championed direct carving—the process of shaping stone or wood without preparatory sketches—believing that it allowed for a more intuitive engagement with the material itself. Her iconic sculptures, such as *Oval Form* (1933) and *Two Forms* (1935), exemplify her masterful manipulation of bronze and marble, creating mesmerizing compositions that capture both solidity and ethereal lightness.
The Second World War & St Ives: Hepworth’s life took a significant turn during the Second World War when she relocated to St Ives, Cornwall, alongside Ben Nicholson—a decision that fostered an environment conducive to artistic experimentation and reflection. The rugged Cornish coastline served as a constant source of inspiration for her work, informing her exploration of landscape forms and textures.
Legacy & Recognition: Hepworth’s enduring legacy rests on her pioneering role in establishing modern sculpture as a distinct artistic discipline and her unwavering commitment to pursuing formal explorations that transcended representational conventions. Her sculptures are housed in prominent museums worldwide—including the Kimbell Art Museum in Fort Worth, Texas—and continue to captivate audiences with their elegance, subtlety, and profound engagement with fundamental questions about perception and materiality.

“All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the forms.” Barbara Hepworth, speaking in the BBC film *Barbara Hepworth* (Dir. John Read, 1961)