Kenneth Armitage Interviewed by John Mcewen

Total Page:16

File Type:pdf, Size:1020Kb

Kenneth Armitage Interviewed by John Mcewen NATIONAL LIFE STORIES ARTISTS’ LIVES Kenneth Armitage Interviewed by John McEwen and Tamsyn Woollcombe C466/08 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/08/01-16 Digitised from cassette originals Collection title: Interviewee’s surname: Armitage Title: Mr Interviewee’s forename: William Kenneth Sex: male (known as Kenneth) Occupation: Date and place of birth: 18th July 1916 Mother’s occupation: Father’s occupation: Dates of recording: 08.06.91; 16.06.91; 01.10.91; 08.10.91; 15.10.91; 28.10.91; 06.11.91; 12.11.91;10.12.91 Location of interview: The artist's studio/home Name of interviewer: John McEwen and Tamsyn Woollcombe Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F2396-F2411 incl. Total no. of digitised tracks: Mono or stereo: Stereo Total Duration: Additional material: Photographs of works Copyright/Clearance: Full clearance given Interviewer’s comments: © The British Library Board http://sounds.bl.uk Kenneth Armitage C466/08/01 F2396A Page 1 F2396 Side A Kenneth Armitage, interviewed by John McEwen, at Kenneth Armitage's studio, [address], on June the 8th, 1991. Right, well I have been asked to speak about the past, and the things that went into one's background so to speak. And the point is, how far does one go back. Well I'm going to go very far back, but shoot over the ground very quickly, starting mainly with my mother and father. My father's family I know hardly anything about, but my mother's family I know a great deal. So I will start with her first, and she was called Quin, QUIN, and she was born in Longford, a county in southern Ireland which is very quiet. It has no particular features in it; it's pastural land, cattle and the like. And originally it was occupied by the O'Quins and the O'Farrells. They were Catholic landowners. Now my great-great-grandfather changed from being a Catholic to a Protestant, which I as a young man was rather disgusted at; I thought he had given up something he believed in for material gain. Now, one can't really judge him because the penal laws in those days were harsh in the extreme. This would have been what date? The beginning of the 19th century, the end of the 18th century. And especially the Catholics; all Irish people were subjugated to this sort of thing, but especially the Catholics, which were really about 80 or 90 per cent of the population. And they were prevented from political office of any kind; education had to be of the most elementary kind, they were not allowed to have any advanced education. They were allowed to be Catholic, but that was limited. There were no new priests, and you may have seen photographs of the people taking mass in the mountains where no one could see them. Great hordes. Have you ever seen that photograph? It's very exciting, a great gang of people up a glen. But the main limitation was in ownership of the land, and they were not allowed to own land, or very little. Now, as a landowner O'Quin, the great-great-grandfather thought he would keep the land, and he did it by marrying a dean's daughter. He made it quite clear that he had changed to Protestant, and to make it even more clear he dropped one n off his name, so hitherto it was double n, © The British Library Board http://sounds.bl.uk Kenneth Armitage C466/08/01 F2396A Page 2 and so he became QUIN, one n only, and he brought his children up as Protestants. So that shows the effort he made to keep the land, which alas was going to be lost by his son...no, not my great-grandfather, he was OK, it was my grandfather that did the damage. So he had a family of course, and my great-grandfather was William Henry Quin, and he became a naval capitain, and he built Lackan, the house two Irish miles from Edgeworthstown. The Irish mile is slightly longer than the English mile. Lackan is spelt how? LACKAN, and it means the house on the hill, but there are many Lackans in Ireland, because there are many houses on hills. And it was two Irish miles from Edgeworthstown, on the Longford road, and I'll talk about Edgeworthstown in a minute. But he built the house; he was going to build a larger house behind my uncle, set on a slight rise, but he never did. He had a job towards the end of his life, a curious job in the Navy. The slave trade had been abolished by Wilberforce in a parliament here, and also by the American Civil War, which was partly fought because of that, the abolition of slavery. But there were still slavers going over the Atlantic to try and still make a bit of money if they could, and his job was to intercept them and escort them back to Africa, which he did. And there was a silly legend in Ireland that he was given a huge gold ring from one of the chiefs he took back, but it was lost in some rocks in the front of Lackan house, which I spent many hours trying to find but no one could ever find it at all, and it was probably a tall story. However, he was thrown from his horse very wildly, and he was very badly wounded, and they took him aboard and they set sail for England, and they went via St. Helena, I don't know why, and there he died at sea, just outside the port. So they put into St. Helena, and they thought we'll bury him here, and the story goes, according to my mother and my uncle, that Napoleon had just been taken out of his tomb on St. Helena where he died, and was sent to Paris to be fitted in to what was then going to become Les Invalides, which was the great tomb and mausoleum of Napoleon with all the bric- - brac all round him. So the tomb was empty. I told one person this who didn't really like me, and he said, 'Oh no, they would never do this, no no'. But they might well have done. Anyhow, that's what my uncle and my... © The British Library Board http://sounds.bl.uk Kenneth Armitage C466/08/01 F2396A Page 3 Don't say he ended up in Napoleon's tomb in St. Helena? Yes. And so he was shut up there. And there's no proof for this, unless of course one went to St. Helena and had Napoleon's vault open. If there was a Captain Quin inside, it's true; if there wasn't, he was buried somewhere else. But they said, and my uncle...a very early film I went to in Dublin, one of the very earliest I ever saw in O'Connell Street, and it was also about St. Helena. And my uncle said there is the tomb where your great-grandfather is buried, and that tree behind, I think it was a willow or a laburnum tree he said, his officers on the ship planted to honour his death, or, you know, the sort of thing like that. So, there it is. And he had I think nine children. The first one went to Belfast and was successful in business in Belfast, and his son, my cousin, was made a senator there. And the next down the list, my mother's eldest sister, was educated in Germany, and then she spent the rest of her life in India. So then by this time however, my...oh, am I jumping it here? Can I just get this straight. It was your great-grandfather Quin who landed up in Napoleon's tomb. That's right. And I've made a mistake here. My grandfather also went into the Navy. I'm so sorry, I've made a mistake already. He was also called William Henry, and he was sent to Nelson's flagship, HMS Victory, which was then moored at Portsmouth and used as a training ship. The time lag in this is so enormous, it's hard to believe that here I am, certainly an elderly person, that my grandfather could be trained on Nelson's ship is hard to believe, but he was. I had until recently the list of his requirements when he went as a cadet.
Recommended publications
  • University of Huddersfield Repository
    University of Huddersfield Repository Gaffney, Sheila Elizabeth Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. Original Citation Gaffney, Sheila Elizabeth (2019) Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35260/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. SHEILA ELIZABETH GAFFNEY A thesis submitted to the University of Huddersfield in partial fulfilment
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • The Jamison Galleries Collection
    THE JAMISON GALLERIES COLLECTION BETTY W. AND ZEB B. CONLEY PAPERS New Mexico Museum of Art Library and Archives Dates: 1950 - 1995 Extent: 7.33 linear feet Contents Part One. Materials on Artists and Sculptors Part Two. Photographs of Works Part Three. Additional Material Revised 01/11/2018 Preliminary Comments The Jamison Galleries [hereafter referred to simply as “the Gallery”] were located on East Palace Avenue, Santa Fe, from August 1964 until January 1993, at which time it was moved to Montezuma Street. There it remained until December 1997, when it closed its doors forever. Originally owned by Margaret Jamison, it was sold by her in 1974 to Betty W. and Zeb B. Conley. The Library of the Museum of Fine Arts is indebted to the couple for the donation of this Collection. A similar collection was acquired earlier by the Library of the records of the Contemporaries Gallery. Some of the artists who exhibited their works at this Gallery also showed at The Contemporaries Gallery. Included in the works described in this collection are those of several artists whose main material is indexed in their own Collections. This collection deals with the works of a vast array of talented artists and sculptors; and together with The Contemporaries Gallery Collection, they comprise a definitive representation of southwestern art of the late 20th Century. Part One contains 207 numbered Folders. Because the contents of some are too voluminous to be limited to one folder, they have been split into lettered sub-Folders [viz. Folder 79-A, 79-B, etc.]. Each numbered Folder contains material relating to a single artist or sculptor, all arranged — and numbered — alphabetically.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art
    A Finding Aid to the Ethel Fisher Papers, 1930-2017, in the Archives of American Art Rihoko Ueno 2016 January 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1939-2014............................................................. 5 Series 2: Correspondence, 1930-2017.................................................................... 6 Series 3: Writings, 1965-2014................................................................................ 10 Series 4: Project Files, 1954-2011........................................................................
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • The Smart Museum of Art BULLETIN 1998-1999
    The Smart Museum of Art BULLETIN 1998-1999 CONTENTS Board and Committee Members 4 Report of the Chair and Director 5 Mission Statement 7 Volume 10, 1998-1999 Front cover: Three Kingdoms period, Silla King­ Studies in the Permanent Collection Copyright © 2000 by The David and Alfred Smart dom (57 B.c.E-935 C-E-) Pedestalledjar, 5th—6th Museum of Art, The University of Chicago, 5550 century stoneware with impressed and combed Metaphors and Metaphorphosis: The Sculpture of Bernard Meadows South Greenwood Avenue, Chicago, Illinois, decoration and natural ash glaze deposits, h. 16 in the Early 1960s 9 60637. All rights reserved. inches (40.6 cm), Gift of Brooks McCormick Jr., RICHARD A. BORN 1999.13. ISSN: 1099-2413 Back cover: The Smart Museum's Vera and A.D. Black and White and Red All Over: Continuity and Transition in Elden Sculpture Garden, recently re-landscaped Editor: Stephanie P. Smith with a gift from Joel and Carole Bernstein. Robert Colescott's Paintings of the Late 1980s 17 Design: Joan Sommers Design STEPHANIE P. SMITH Printing: M&G Commercial Printing Photography credits: Pages 8-13, 16, 18, 24-40, Tom van Eynde. Page 20, Stephen Fleming. Pages Activities and Support 41 —43» 4 6> 48> 51. Lloyd de Grane. Pages 44, 45, 49, Rose Grayson. Page 5, Jim Newberry. Page 53, Acquisitions to the Permanent Collection 25 Jim Ziv. Front and back covers, Tom van Eynde. Loans from the Permanent Collection 36 The images on pages 18-22 are reproduced courtesy of Robert Colescott. The work by Imre Kinszki illustrated on page 24 and 31 is reproduced Exhibitions 39 courtesy of Howard Greenberg Gallery, New York.
    [Show full text]
  • Geoffrey-Clarke-Catalogue-Email.Pdf
    PANGOLIN GEOFFREY CLARKE A DECADE OF CHANGE LONDON 1 INTRODUCTION Geoffrey Clarke was a pioneer in a golden age of British sculpture. A pioneer because of his fearless experimentation with new materials and processes and a golden age because sculpture in Post-War Britain had never been so exciting. Not only had Henry Moore successfully established an international platform for British sculptors, but there was an important step change in the approach to new materials; an abundance of top quality sculpture exhibitions and a bountiful wave of public commissions, all of which proved the perfect melting pot for sculpture. With an artist’s natural inquisitiveness Geoffrey Clarke adapted his working methods to accommodate new projects and ideas, tirelessly exploring a broad range of materials and perfecting new techniques. As this exhibition highlights, Clarke never lost sight of his visual language despite experiments in scale or material, rather his carefully considered line, bold form and delicate surface textures were the constant whatever the medium. As one of the last remaining artists from the eminent group of young sculptors that exploded on to the scene at the 1952 Venice Biennale, we are honoured to host this exhibition. It is as a celebration of an immensely fertile period in Geoffrey Clarke’s oeuvre and we hope that it brings to life the sculptural zeitgeist that influenced a momentous age. Polly BIeleCkA Pangolin london Man 1954, Iron Unique 28.5 cm high 2 3 MaterIAl sHIFTs By JUDITH leGroVe ike Primo levi’s Periodic Table, Geoffrey Clarke’s life can be mapped lthrough materials: glass, iron, bronze, aluminium, polystyrene, silver, wood.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • 54Th International Congress on Medieval Studies
    54th International Congress on Medieval Studies May 9–12, 2019 Medieval Institute College of Arts and Sciences Western Michigan University 1903 W. Michigan Ave. Kalamazoo, MI 49008-5432 wmich.edu/medieval 2019 i Table of Contents Welcome Letter iii Registration iv–v On-Campus Housing vi–vii Food viii–ix Travel x Driving and Parking xi Logistics and Amenities xii–xiii Varia xiv Off-Campus Accommodations xv Hotel Shuttle Routes xvi Hotel Shuttle Schedules xvii Campus Shuttles xviii Diversity and Inclusion xix Exhibits Hall xx Exhibitors xxi Social Media xxii Reception of the Classics in the Middle Ages Lecture xxiii Mostly Medieval Theatre Festival xxiv–xxv Plenary Lectures xxvi Exhibition of Medieval Manuscripts xxvii Advance Notice—2020 Congress xxviii The Congress: How It Works xxix Travel Awards xxx The Otto Gründler Book Prize xxxi Richard Rawlinson Center and Center for Cistercian and Monastic Studies xxxii M.A. Program in Medieval Studies xxxiii Medieval Institute Publications xxxiv–v Endowment and Gift Funds xxxvi 2019 Congress Schedule of Events 1–193 Index of Sponsoring Organizations 194–198 Index of Participants 199–214 Maps and Floor Plans M-1 – M-9 List of Advertisers Advertising A-1 – A-39 Color Maps ii Dear colleagues, We’re about to get some warmer weather soon, so I’m told, as the semester draws to an end here at Western Michigan University. Today, the sun is out and the end of the fall semester makes me think of the spring, when Sumer may be Icumen In and friends new and old will join us at the International Congress on Medieval Studies in May.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Lynn Chadwick out of the Shadows Unseen Sculpture of the 1960S
    LYNN CHADWICK OUT OF THE SHADOWS UNSEEN SCULPTURE OF THE 1960S 1 INTRODUCTION ince my childhood in Africa I have been fascinated and stimulated by Lynn SChadwick’s work. I was drawn both by the imagery and the tangible making process which for the first time enabled my child’s mind to respond to and connect with modern sculpture in a spontaneous way. I was moved by the strange animalistic figures and intrigued by the lines fanning across their surfaces. I could see that the lines were structural but also loved the way they appeared to energise the forms they described. I remember scrutinising photographs of Lynn’s sculptures in books and catalogues. Sometimes the same piece appeared in two books but illustrated from different angles which gave me a better understanding of how it was constructed. The connection in my mind was simple. I loved skeletons and bones of all kinds and morbidly collected dead animals that had dried out in the sun, the skin shrinking tightly over the bones beneath. These mummified remains were somehow more redolent of their struggle for life than if they were alive, furred and feathered and to me, Lynn’s sculpture was animated by an equal vivacity. His structures seemed a natural and logical way to make an object. Around me I could see other structures that had a similar economy of means; my grandmother’s wire egg basket, the tissue paper and bamboo kites I built and the pole and mud constructions of the African houses and granaries. This fascination gave me a deep empathy with Lynn’s working method and may eventually have contributed to the success of my relationship with him, casting his work for over twenty years.
    [Show full text]