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Musée Rodin in Paris: British artist Barbara Hepworth brought a new aesthetic sensibility into sculpting

Barbara Hepworth: „Three forms”, marble.

The poetic style of her works is largely inspired by nature’s organic forms

The Musée Rodin in Paris sent us the following press release about its current exhibition:

The Musée Rodin will be holding the first monographic exhibition on the work of British sculptor Barbara Hepworth (1903-1975) in Paris, in association with Tate. She strongly influenced sculpture with her development of a new aesthetic sensibility. The exhibition is on show until March 22, 2020.

Her abstract works, imbued with poetic purity, aspire to an ideal, peaceful world.

The Musée Rodin’s tribute exhibition to Hepworth will present these sculptures, with their combination of solid and void; visitors who see these compelling artworks will find them hard to forget. A NEW AESTHETIC: SCULPTURE FOR A MODERN WORLD

After Rodin (1840-1917), a different kind of sculpture came into being. Around 1905 in France, Aristide Maillol restored density to his freestanding figures, and from 1909 onwards Constantin Brancusi took this revival of the basics of sculpture to its highest degree of refinement. The next development came with the work of Henry Moore and Barbara Hepworth in 1920s Britain.

Barbara Hepworth: „Two figures”.Barbara Hepworth: „Torso I”.

Distancing herself from Rodin’s powerful expressionism, Barbara Hepworth sought a new aesthetic founded on the language of form and volume. The poetic nature of her sculpted volumes was largely inspired by the nature. Her organic sculpture also represents her world view: for post-World War I society, this new sensibility conveyed an impression of peace in opposition to the atrocities of recent years.

Hepworth’s artistic vocabulary contrasted with the work of other sculptors, founded on pathos, based on construction or inspired by machines. In 1934, she wrote that her aim was to ,project into a plastic medium some universal or abstract vision of beauty.’ The essence of her art lies in the play of convex and concave, the subtle contrast of solid and void.

Beneath the silent exterior of solid forms, Hepworth’s art aspired to an ideal world, allowing her, in her own words, to ,swallow despair.’ Hepworth’s aesthetic also stemmed from her love of material — which she carved directly, as if seeking to extract a singular harmony from the intrinsic characteristics of each block. After World War II, she worked the plaster by hand to create her monumental bronzes.

Barbara Hepworth: „Two forms”.

The aim of the Musée Rodin’s exhibition is to provide an overview of her art and career and an insight into her working methods with a recreation of her studio environment.

Little known to the French public, Barbara Hepworth, although her significance as an artist, was recognized in her day. She and her husband Ben Nicholson frequented artistic circles in France, visiting Brancusi, Picasso, Braque, Mondrian and meeting Arp, Calder and Miro. From 1939 on, Hepworth worked in Cornwall, whose landscapes had a profound influence on her work. Hepworth was greatly honored in Britain in her lifetime and was made a Dame of the British Empire. Discs in Echelon entered the MoMA’s collections as early as 1936, and her work was shown in a series of exhibitions: at the Venice Biennale, in San Francisco, Sao Paulo and Tokyo.

Musée Rodin

Photos: Musée Rodin

Barbara Hepworth: „Pélagos”.Barbara Hepworth: „Single form”.Barbara Hepworth. Photo: Rosemary Mathews

(17.11.2019, USA: 11.17.2019)