Barbara Hepworth: Sculpture for a Modern World
芭芭拉·赫普沃斯:現代世界的雕塑



Tate Britain presents the first major London retrospective for almost half a century of the work of Barbara Hepworth, one of Britain’s greatest artists. Barbara Hepworth (1903-75) was a leading figure of the international modern art movement in the 1930s, and one of the most successful sculptors in the world during the 1950s and 1960s. This major retrospective emphasises Hepworth’s often-overlooked prominence in the international art world. It also highlights the different contexts and spaces in which Hepworth developed and presented her work, from the studio to the landscape.

The exhibition features over 100 works, from Hepworth’s major carvings and bronzes to her less-familiar works. It opens with Hepworth’s earliest surviving carvings from the 1920s, such as Doves 1927, alongside works by predecessors and peers from Jacob Epstein and Henry Moore to lesser known contemporaries.

Living together in Hampstead, London, Hepworth and her second husband Ben Nicholson made works in dialogue. Major carvings including Kneeling Figure 1932 and Large and Small Form 1934 are shown with paintings, prints and drawings by Nicholson and rarely seen textiles, drawings, collages and photograms by Hepworth.

In the later 1930s, as part of an international avant-garde brought together through exhibitions and magazines, Hepworth made more purely abstract work. A display of the majority of Hepworth’s surviving carvings of this period includes Discs in Echelon 1935 and Single Form 1937-8 alongside the journals in which they featured among artists such as Alberto Giacometti and Piet Mondrian.

In the mid-1940s in St Ives, Cornwall, Hepworth began making sculptures in wood, for example Pelagos 1946, which expressed her response to her new surroundings. These are set alongside her two-dimensional work: the abstract works on paper of the early 1940s and her figurative ‘hospital drawings’ of 1947-8, both expressing in different ways utopian ideals.

 

今年6月,位於英國倫敦的泰特美術館英國館將為芭芭拉·赫普沃斯舉辦個展,這也是這位英國國寶級女藝術家的首次大型回顧展,展出作品呈現了她近半個世紀的藝術創作。芭芭拉·赫普沃斯是上個世紀30年代國際現代藝術運動的代表人物,也被譽為是20世紀五、六十年代全世界範圍內最為傑出的雕塑家。此次的回顧展強調并重新審視了赫普沃斯在藝術發展中被國際藝術領域所忽視的重要地位。展覽也著重展示了赫普沃斯的藝術創作與空間環境之間的關係。

展覽共呈現了100多件作品,除了赫普沃斯著名的雕刻和青銅作品,還包括了她的一些並不為人所熟知的創作。展覽以赫普沃斯1920年代創作的雕刻作品為開端,這也是其存世作品中最為早期的雕刻作品,如1927年創作的《鴿子(Doves)》。與赫普沃斯作品一同呈現的還有很多其他藝術家的作品,既有雅各布·愛普斯坦(Jacob Epstein)和亨利·摩爾(Henry Moore)這樣的著名藝術家前輩,同時也有很多在當時名不見經傳的同輩藝術家。

在倫敦漢普斯特德生活期間,赫普沃斯和她第二任丈夫本·尼科爾森(Ben Nicholson)的創作形成了一種對話的形式。赫普沃斯1932年創作的《下跪(Kneeling Figure)》和1934年創作的《大與小的形式( Large and Small Form)》都是其重要的雕刻作品,這些作品與尼克爾森的繪畫、版畫以及素描作品一同展示,同時,還有一些罕見的赫普沃斯創作的素描、拼貼以及織物及攝影作品也涵蓋其中。

20世紀30年代末,在各種展覽和媒體的推動下,國際前衛藝術運動開始興起,作為其中的一份子,赫普沃斯開始創作更多的純抽象作品。她在這個時期最重要的兩件存世作品將會與同時期的出版雜誌一同展示,這些雜誌中提及了很多當時重要的藝術家,如賈科梅蒂(Alberto Giacometti)和蒙德里安(Piet Mondrian)等人。

在20世紀40年代中期,在英國的康沃爾聖艾夫斯生活期間,赫普沃斯開始使用木頭作為主要創作材料,新的創作材質也反映出她對新的生活環境產生的反饋。她這一時期的作品與她早些時候創作的紙上抽象作品一同呈現,通過不同的形式表達了她的“烏托邦”理想。

Hepworth, Barbara (1903-1975): Disks in Echelon, 1935.. New York, Museum of Modern Art (MoMA)*** Permission for usage must be provided in writing from Scala.

 


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展覽場地:Tate Britain 泰特英國美術館
展覽時間:24.6.2015 – 25.10.2015
更多信息:www.tate.org.uk