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Home , Eduardo Paolozzi, Hanover Gallery, Kenneth Armitage, Reg Butler

J W575 Paolozzi book_11 03/10/2011 17:27 Page 1

Eduardo Paolozzi J W575 Paolozzi book_11 03/10/2011 17:27 Page 2 J W575 Paolozzi book_11 03/10/2011 17:27 Page 3

Eduardo Paolozzi Archaeology of a Used Future : 1946 –1959

Texts by & John-Paul Stonard Photography by David Farrell

Jonathan Clark Fine in association with The Paolozzi Foundation J W575 Paolozzi book_11 03/10/2011 17:27 Page 4 J W575 Paolozzi book_11 03/10/2011 17:27 Page 5

Foreword Simon Hucker

fig.1 Krokodeel 1956, bronze, h.36 in / 92 cm Scottish National Gallery of Modern Art,

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Eduardo Paolozzi: A Personal Recollection Peter Selz

I first encountered Paolozzi’s work when I saw his Dubuffet’s paintings and as well as his St. Sebastian No2 at the Guggenheim Museum in art brut collection. The French artist’s use of old 1958. Here was this solitary figure, made of a and discarded materials, the coarse surfaces of his conglomeration of machine parts and all kinds of pictures, his grotesques, were perhaps most detritus, which the sculptor metamorphosed into a important. In his Statement in the catalogue of New tattered figure with a large encrusted head, a Images, Dubuffet quoted Joseph Conrad speaking ramshackle torso and thin legs. It appeared like a of “a mixture of familiarity and terror” which relic from the distant past and a robot of a perilous certainly applies to Paolozzi’s bronzes. Although future. Then I saw a show of small bronzes by this entitled with heroic names such as Sebastian, Jason, sculptor at Betty Parsons, the prime gallery of the Icarus, Japanese War God, Cyclops, they are clearly new American painting. I was selecting work for my 20th century existential anti-heroes, expressing the forthcoming exhibition New Images of Man at the human predicament. In the introduction to the Museum of Modern Art at that time and decided catalogue of New Images, I spoke of an art produced that this Italian-Scottish artist had to be in the by painters and sculptors working in the aftermath show. The core artists of that international of Auschwitz and Hiroshima, being acutely aware of exhibition of the New Figuration were Giacometti, what Nietzsche called “the eternal wounds of Dubuffet, de Kooning, Pollock (the late black-white existence.” figurative paintings), Bacon, and among younger artists Leon Golub, Richard Diebenkorn, Karel The exhibition at MoMA , the high altar of Appel, César, Nathan Oliveira and H.C. , caused mixed reactions. To see it, was Westermann. basically a tragic experience. Furthermore, it was an international show at a time when the Museum’s It was during a 3 year stay in in the late 1940s International Council, with unrevealed support that Paolozzi met Braque and Balthus, came in from federal agencies, supported the exhibitions of contact with the Surrealists, saw Mary Reynolds’ the Abstract Expressionists as signifiers of collection of leftover relics by Duchamp, admired American freedom: The Triumph of American the “presence” of Giacometti’s tall figures and Painting as the American art critic Irving Sandler

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would arrogantly entitle his 1976 book on the department at the university, he would address me movement. A few years after the show, in 1964, in his commanding voice, telling me that industrial when Robert Rauschenberg was given the first processes and techniques must be brought in, prize at the Venice Biennale, the French critic instead of old-fashioned academic teaching. When Pierre Restany, usually supportive of American art, I responded that the Bauhaus had gone in that protested at “ the aura of cultural imperialism direction, he replied that it was about time for this around the Americans”.¹ In this xenophobic to happen here. atmosphere major European sculptors like Paolozzi or Eduardo Chillida did not receive the attention In his own work at the time, Paolozzi was occupied they deserved. As the art historian Dennis Raverty with making screenprints largely based on the life later observed, “It could be argued that an and writings of . We also exhibition that placed Europeans on an equal talked about the metal sculptures which he had footing (with the Americans) was sure to arouse produced previous to his time here: they were hostility at that time, as would a show that gave given these highly polished mirror surfaces to such an important place to sculpture”.² Today New reflect their surroundings. Unlike the work of his Images of Man has assumed a notable place in the contemporaries, David Smith and Anthony Caro, history of 20th Century art: on a visit to the Tate in Paolozzi’s sculptures are not mere objects of pure 2005 I noticed that one gallery, showing several of form, but engage with the world in which we exist. the artists of the 1958 exhibition, was called “New Images of Man”, with excerpts from my catalogue During his time in California, he went to introduction as a wall label. Disneyland, the wax museums in San Francisco and Los Angeles, to Frederick’s lingerie show In 1964, fascinated by the changes that had rooms and Paramount Studios in Hollywood. He occurred in the artist’s work, I curated a small show also spent time at the University’s Computer of four new sculptures and As Is When screenprints Center, Stanford University’s Linear Accelerator at MoMA. Paolozzi now focused on modern Center, Douglas Aircraft Company in Santa technology and worked with technicians to execute Monica and the General Motors Assembly Plant in his ideas. He used geometric elements, had them Hayward. Paolozzi always saw art, especially his cast in corrosive aluminum, used in the aircraft own, in its cultural context: earlier he focused on industry and produced industrial . One of products of mass communication such as the pieces from this show, Lotus (1964) was acquired newspapers or publicity brochures, now he used by the Museum. It is a sculpture in which a relief of industrial techniques for his chromed steel and concentric circles on a square slab is mounted on polished aluminum in his search for what he tubular legs and can be seen as an industrial called “the sublime in everyday life”. version of his St.Sebastian of the previous decade. Notes 1) Pierre Restany, “La XXXII Biennale di Venezia”, quoted in In 1968, when I had left MoMA to become the Serge Guilbaut (ed), Reconstructing Modernism ( Canbridge, The founding director of the Berkeley Art Museum, I MIT Press, 1990) p.400. was able to have Paolozzi invited for a lectureship 2) Dennis Raverty, “Critical Perspectives on New Images of Man, Art Journal, Winter 1994,p.65 at the University of California. Eduardo was my house guest during his semester at Berkeley. Thinking that I was in charge of the practice of art

fig.2 St. Sebastian I 1957, bronze, h.68 in / 173 cm Scottish National Gallery of Modern Art

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Introduction to ‘New Images of Man’ Exhibition Catalogue, MoMA, 1959 Peter Selz

Marsyas had no business playing the flute. Athena, Again in this generation a number of painters and who invented it, had tossed it aside because it sculptors, courageously aware of a time of dread, distorted the features of the player. But when have found articulate expression for the “eternal Marsyas, the satyr of Phrygia, found it, he wounds of existence.” This voice may “ dance and discovered that he could play on it the most yell like a madman” (Jean Dubuffet), like the wondrous strains. He challenged beautiful Apollo, drunken, flute-playing maenads of Phrygia. who then calmly played the strings of his lyre and won the contest. Apollo’s victory was almost The revelations and complexities of mid-twentieth- complete, and his divine proportions, conforming century life have called forth a profound feeling of to the measures of mathematics, were exalted in solitude and anxiety. The imagery of man which fifth-century Athens and have set the standard for has evolved from this reveals sometimes a new the tradition of Western art. But always there was dignity, sometimes despair, but always the the undercurrent of Marsyas’ beauty struggling uniqueness of man as he confronts his fate. Like past the twisted grimaces of a satyr. These strains Kierkegaard, Heidegger, Camus, these artists are have their measure not in the rational world of ware of anguish and dread, of life in which man – geometry but in the depth of man’s emotion. precarious and vulnerable – confronts the Instead of a canon of ideal proportion we are precipice, is aware of dying as well as living. confronted by what Nietzsche called “the eternal Their response is often deeply human without wounds of existence.” Among the artists who come making use of recognizable human imagery. It is to mind are the sculptors of the Age of found, for instance, in Mark Rothko’s expansive Constantine, of Moissac and Souillac, the painters ominous surfaces of silent contemplations, or in of the Book of Durrow, the Beatus Manuscripts, Jackson Pollock’s wildly intensive act of vociferous and the Campo Santo; Hieronymus Bosch, affirmation with its total commitment by the artist. Gruenewald, Goya, Picasso and Beckmann. In the case of the painters and sculptors discussed

fig.3 Japanese War God 1958, bronze, h.60 in /152 cm Albright -Knox Art Gallery, Buffalo

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here, however, a new human imagery unique to our effigies takes the place of politics and moral century has been evolved. philosophy, and the showing forth must stand in its own right as artistic creation. Like the more abstract artists of the period, these imagists take the human situation, indeed the In many ways these artists are inheritors of the human predicament rather than formal structure, romantic tradition. The passion, the emotion, the as their starting point. Existence rather than break with both idealistic form and realistic matter, essence is of the greatest concern to them. And if the trend towards the demoniac and cruel, the Apollo, from the pediment of Olympia to fantastic and imaginary – all belong to the Brancusi’s Torso of a Young Man, represents romantic movement which, beginning in the essence, the face of Marsyas has the dread of eighteenth century, seems never to have stopped. existence, the premonition of being flayed alive. But the art historian can also relate these images to These images do not indicate the “return to the the twentieth-century tradition. Although most of human figure” or the “new humanism” which the the works show no apparent debt to , they advocates of the academies have longed for, which, would be impossible without the cubist revolution indeed they and their social-realist counterparts in body image and in pictorial space. Apollinaire have hopefully proclaimed with great frequency, tells us in his allegorical language that one of ever since the rule of the academy was shattered. Picasso’s friends “brought him one day to the There is surely no sentimental revival and no border of a mystical country whose inhabitants cheap self-aggrandizement in these effigies of the were at once so simple and so grotesque that one disquiet man. could easily remake them. And then after all, since anatomy, for instance, no longer existed in art, he These images are often frightening in their had to reinvent it, and carry out his own anguish. They are created by artists who are no assassination with the practised and methodical longer satisfied with “significant form” or even the hand of a great surgeon.” Picasso’s reinvention of boldest act of artistic expression. They are perhaps anatomy, which has been called cubism, was aware of the mechanized barbarism of a time primarily concerned with exploring the reality of which, notwithstanding Buchenwald and form and its relation to space, whereas the imagists Hiroshima, is engaged in the preparation of even we are now dealing with often tend to use a greater violence in which the globe is to be the similarly shallow space in which they explore the target. Or perhaps they express their rebellion reality of man. In a like fashion the unrestricted use against a dehumanization in which man, it seems, of materials by such artists as Dubuffet and is to be reduced to an object of experiment. Some Paolozzi would have been impossible without the of these artists have what Paul Tillich calls the early collages by Picasso and Braque, but again the “courage to be,” to face the situation and to state cubists were playing with reality for largely formal the absurdity. “Only the cry of anguish can bring reasons, whereas the contemporary artists may use us to life.” pastes, cinder, burlap or nails to reinforce their psychological presentation. But politics, philosophy and morality do not in themselves account for their desire to formulate These men own a great debt to the emotionally these images. The act of showing forth these urgent and subjectively penetrating painting of the

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expressionism from the early Kokoshka to the late Soutine. Like them they renounce la belle peinture and are “bored by the esthetic,” as Dubuffet writes. Like most expressionists these artists convey an almost mystical faith in the power of effigy, to the making of which they are driven by “inner necessity.” Yet the difference lies in this special power of the effigy, which has become an icon, a poppet, a fetish. Kokoschka and Soutine still do likenesses, no matter how preoccupied with their own private agonies and visions; Dubuffet and de Kooning depart further from specificity, and present us with a more generalized concept of Man or Woman.

Much of this work would be inconceivable without Dada’s audacious break with the sacrosanct “rules of art” in favor of free self-contradiction, but negativism, shock value, and polemic are no longer ends in themselves. The Surrealists, too, used the devices of Dada – the rags, the pastes, the ready- mades, the found object – and transported the picture into the realm of the fantastic and supernatural. Here the canvas becomes a magic object. Non-rational subjects are treated spontaneously, semi-automatically, sometimes deliriously. Dream, hallucination and confusion are used in a desire “to deepen the foundations of the real.” Automatism was considered both a satisfying and powerful means of expression because it took the artist to the very depths of his being. The conscious was to be visibly to the unconscious and fused into a mysterious whole as in Giacometti’s The Palace at 4 A.M., where the reference of each object within the peculiarly shifting space – the space of the dream – is so ambiguous as never to furnish a precise answer to our question about it. But all too often surrealism “offered us only a subject when we needed an image.” The surrealist artist wants us to inquire, to attempt to “read” the work, and to remain perplexed. In the City Square, which Giacometti fig.4 Jason 1956, bronze, h.66 in /168 cm Museum of Modern Art, New York

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did sixteen years later, we are no longer dealing African carving, they are enraptured not so much with a surrealist object. The space still isolates the by its plastic quality or its tactile values, but rather figures, but instead of an ambiguous dream image by its presence as a totemic image. They may we have a more specific statement about man’s appreciate the ancient tribal artist’s formal lack of mutual relationship. sensibilities; they truly envy his shamanistic powers. Finally the direct approach to the material itself on the part of contemporary painters and sculptors, The artists represented here – painters and the concern with color as pigment, the interest in sculptors, European and American – have arrived the surface as a surface, belongs to these artists as at a highly interesting and perhaps significant much as it does to the non-figurative painters and imagery which is concomitant with their formal sculptors of our time. The material – the heavy structures. This combination of contemporary pigmentation in de Kooning’s “Women,” the form with a new kind of iconography developing corroded surfaces of Richier’s sculpture – help into a “New Image” is the only element these indeed in conveying the meaning. Dubuffet was artists hold in common. It cannot be emphasized one of the first artists who granted almost too strongly that this is not a school, not a group, complete autonomy to his material when he did not a movement. In fact, few of these artists know his famous “pastes” of the early 1940s. Even each other and any similarities are the result of the Francis Bacon wrote: “Painting in this sense tends time in which they live and see. They are towards a complete interlocking of image and individuals affirming their personal identity as paint, so that the image is in the paint and vice artists in a time of stereotypes and versa… I think that painting today is pure intuition standardizations which have affected not only life and luck and taking advantage of what happens in general but also many of our contemporary art when you splash the stuff down.” But it is also exhibitions. Because of the limitations of space, we important to remember that Dubuffet’s or Bacon’s could not include many artists whose work merits forms never simply emerge from an recognition. While it is hoped that the selection undifferentiated id. These artists never abdicate proves to be wise, it must also be said that it was their control of form. the personal choice of the director of the exhibition. The painters and sculptors discussed here have been open to a great many influences, have indeed sought to find affirmation in the art of the past. In Notes New Images of Man ran at the Museum of Modern Art, New York, addition to the art of this century – Picasso, from 30 September to 29 November 1959 and featured works by, Gonzales, Miró, Klee, Nolde, Soutine, etc. – they among others, Francis Bacon, César, Richard Diebenkorn, Jean have learned to know primarily the of the non- Dubuffet, , Willem de Kooning, Jackson Pollock and Germaine Richier, as well as three young British Renaissance tradition: children’s art, latrine art, sculptors: , and Paolozzi and what Dubuffet calls art brut; the sculpture of the early Etruscans and the last Romans, the Aztecs, and Neolithic cultures. When these artists look to the past, it is the early and late civilizations which captivate them. And when they study an

fig.5 Chinese Dog 2 1958, bronze, h.36 in / 91cm Peggy Guggenheim Collection, Venice

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Used Future: The Early Sculptures of Eduardo Paolozzi John-Paul Stonard

Eduardo Paolozzi once noted that he chose to remains the ‘classic’ moment of Paolozzi’s oeuvre, become a sculptor because of a desire to create and attests to his position by the mid 1950s not ‘things’.1 Things, rather than art: the distinction only as a leading international sculptor, but also remained important for the rest of his life. For the one of the most pungent interpreters of the eighteen-year old Paolozzi, ‘art’ meant the conditions of post-War life. No artist responded academic training at the Slade, where he studied: more intuitively and with less self-consciousness to modelling from the antique, stone carving, copying the quiddity of daily life, to the demands of place from the old masters, life drawing, a general and time; from the rubble-strewn streets of post- servitude to the traditions of western art. ‘Things’ War , through to the growing materialism meant, largely speaking, everything else: the and economic revitalisation of the 1950s. substance of real life, objects that spoke of the contemporary predicament — worldly things. In England at this time the dominant model for sculpture remained the classicism of , Following his studies at the Slade, and for the first ‘so final and so convincing’, that it was necessary two decades after the War, Paolozzi explored the for a young sculptor to turn to European artists, contemporary predicament in a unique manner. and in particular to Picasso, to produce anything at His work evolved from the mysterious world of all original.2 Even in his earliest sculptures, the nature and animals, as with the small bronze Paris now lost plaster version of Bull,3 later cast in Bird (fig.12), to a series of monumental figurative bronze (cat.1), a remarkably confident and works collaged from found objects, notably Jason expressive early work, and the several versions in (fig.4). By the early 1960s he had turned to a more cast concrete of Horse’s Head (cat.2), made outside abstract, architectural style in welded aluminium, the Academy in the basement of the Slade Student for example The World Divides into Facts. Dazzling hostel at 28 Cartwright Gardens (‘in order not to and physically imposing though works from this be disturbed or criticised’),4 Paolozzi demonstrated moment can be, they lack in many cases the fragile, this feeling that something better was being done exploratory quality of the early period, which elsewhere, and by other means: ‘the outer edge of

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fig.6 Fishermen (Newhaven) 1946, ink on paper, 18 x 26 in / 46 x 66 cm Private Collection

my soul was being tugged at by an invisible other recalled: ‘As the sculpture school had become world’, as he later put it.5 Horse’s Head strikingly intolerable I had spent the previous six months anticipates the motif developed from the early working in the basement making sculptures out of 1950s by Paolozzi’s fellow Slade student William concrete and plaster, and black-and-white ink Turnbull. Turnbull had produced a sculpture of a drawings heavily influenced by Picasso who was horse’s head of almost exactly the same richly represented – [in] books from the shelves of dimensions during the same year; which lacked Peter Watson who gave me his benedictions. Peter however the simplified, cartoon-like nature of Watson at that time had bought a bronze Paolozzi’s version.6 Picasso’s roughly carved, chandelier designed by Giacometti and needed expressive natural forms, using animal and plant help to erect it. Consequently these Picassoid motifs, had a clear influence on the handful of student works were reproduced, thanks to Peter, in ‘Picassoid’ sculptures he made at this time and the magazine Horizon with a wonderful text by showed at the Mayor Gallery in 1947 (the others Robert Melville, and were exhibited at the Mayor were Seagull and Fish, and Blue Fisherman). He later Gallery’.7

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The Mayor Gallery exhibition, Paolozzi’s first one- man show sold out; a coup for the twenty-three year old artist, still a student. It was a sign of his obstinately independent nature that he used the proceeds to quit the London art world for Paris, departing, according to legend, with a tin trunk of his possessions, and living on next to no money — when Nigel Henderson visited, Paolozzi provided him with a list of basic items to bring, cooking ingredients and art materials. Life in Paris was a matter more of experience than productivity. His time was largely spent seeing art – from the ‘tiny hippopotami’ that he saw in a case in the Louvre on the first day he arrived,8 to the art collection of Mary Reynolds. It was a time of measuring himself against the remnants of the pre-War avant-garde – he arrived in time to visit the last large Surrealist group exhibition, ‘Exposition Internationale du Surréalisme,’ which opened at the Galerie Maeght in July. The catalogue featured ’s Prière de Toucher on the cover, and artists from twenty-five countries were represented, but it was clear that the pre-War spirit of Surrealism had not been recaptured – certain renegade figures, such as Tristan Tzara, were now criticising the movement on political grounds, and the social basis of the original group had dispersed.

When it came to making work, however, the clear point of reference for the group of seven sculptures by Paolozzi that survive from 1948–9 was the pre-War work of Giacometti. Two Forms on Rod (cat.5) is often compared with Giacometti’s fig.7 Horse’s Head 1946, ink & on paper 19 x 9 in / 49 x 23 cm Scottish National Gallery of Modern Art, Edinburgh Man and Woman (1929), and echoes the harsh organic forms and psychological tension of the Swiss artist’s work of the 1930s.9 Similarly, Bird (1949, Tate), may at first glance suggest a direct to his sense of a mysterious, sometimes threatening comparison with Giacometti’s Woman with her world of natural forms. He was also impressed by throat cut (1932), and Table Sculpture (Growth) Giacometti’s self-belief: ‘he was a real artist (cat.6), with La table, made by Giacometti in 1933. because he was obsessed about his ideas and It was the directness and pungency of Giacometti’s worked all night, and everything else in life for him sculptures that appealed to Paolozzi, in particular was just a grey shadow’.10 But there is also an

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1 1 fig.8 Forms on a Bow No.1 1949, bronze, 21 ⁄2 x 25 ⁄2 in / 65 x 67cm Tate

important difference; rather than an endless and versions of Forms on a Bow (fig.8; cat.4), remain the poetic transformation of objects, a flipping first major statement of a sculptural idea in between readings and strong association with Paolozzi’s oeuvre – it was less in sculpture than in literature, Paolozzi was engaged with the mute two other areas, collage and bas-reliefs, that power of objects and shapes that defy Paolozzi made his most important innovations of transformation — not representing a body of the Paris period. The combination of these two thought, or illustrating poetic texts, but appearing formats, collage as sculptural relief and sculptural as natural objects, strange and irreconcilable. relief as collage, proved to be the crucible out of which emerged much of Paolozzi’s later work. His Notwithstanding the power of these early focus on collage during the Paris period evolved Surrealist-influenced sculptures – and the four naturally out of his earliest, childhood obsessions,

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copying pictures from newspapers and magazines. Alongside more conventional papier collés, using coloured paper and lettering to create semi- abstract compositions, Paolozzi continued producing photomontage-like works, in particular the extraordinary ‘Museum-book’ collages (present author’s term) that he had begun making while at the Slade, for example Butterfly and Group of Gauls (fig.9 & 10). These culminated in the small collage- book Psychological Atlas, made around 1949, and which appears as a survey of the scenery and psychology of post-War Europe. For this book, now a tattered relic kept as an archival item at the Victoria & Albert Museum, Paolozzi took the catalogue from an exhibition of art held in while the country was still under occupation, and created a series of double-page spreads with material that provides a strange, oblique snapshot of the moment.

3 1 fig.9 Group of Gauls 1947, collage 9 ⁄4 x7⁄4 in / 24.5 x 18.5 cm Paolozzi's early experiments with bas-relief, in Paolozzi Foundation / Jonathan Clark Fine Art particular the creation of plaster tiles incised with decorative or abstract motifs, with strong emphasis on surface rather than sculptural mass, was equally important for the development of his sculpture over the next decade or so. Fish (plaster, 1948) measures about one foot square and suggests marine motifs and insects, crustaceans fossilised in plaster. Nature is clearly the key to Paolozzi’s work in relief, and the sense of a hidden mystery preserved in nature, as if these were fossils that had survived the destructive influence of human culture. A number of these reliefs were made after a visit to St. Jean de Luz, and evoked maritime and lunar landscapes, and may be compared with the strangeness – the displaced quality – of the collages in the Psychological Atlas. A relationship between collage and relief work was evolving in Paolozzi’s work that allowed a concentration on forms as images, rather than as sculptural mass, and on images as something tangible, rather than as flat and ‘notional’.

3 1 fig.10 Butterfly 1946, collage 7 ⁄4 x 5 ⁄2 in / 19.8 x 14 cm Paolozzi Foundation / Jonathan Clark Fine Art

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Those bas-reliefs Paolozzi made in Paris were exhibited in a solo exhibition at the Mayor Gallery during May 1949.11 Poor sales from this exhibition — only one was sold, to Roland Penrose — obliged Paolozzi to return to England in October 1949. Just before he left Paris two unidentified sculptures and two bas-reliefs were included in the third ‘Les Mains éblouies’ exhibition at the Galerie Maeght, Paris — but Paolozzi brought the majority of his sculpture back with him to London, and there cast it in bronze for his first exhibition at the Gallery in 1950, alongside works by Kenneth King and William Turnbull.12

•

Where was sculpture at mid-century? Artists working in Britain were certainly amongst the pioneers of , notably Epstein and Moore, who had made it their task to redefine sculpture as an independent art, rather than as architectural adornment, or as a matter of commemoration. Such innovations were on a par with avant-garde developments in Paris, and were an important precedent for the international success of British sculptors later in the century. The crucial step was to generate an iconography of sculpture that was as independent and non- naturalistic as that used by modernist painters, in particular abandoning academic study of the human body. If in his work of the late 1940s Paolozzi shows a full awareness of this new independence of modernist sculpture, on his return to England he confronted what was to become the central question of sculpture in the wake of modernism: how to reintroduce the human figure into this newly independent art.

For Paolozzi it became a matter of skin, of an organic surface implying a living interior. Worn,

3 fig.11 Target 1947, ink & collage on paper 20 x 7 ⁄4 in / 51 x19.5 cm , Chichester

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complex surfaces came to take on a particular sculpture, and constituted the ‘Brutalist’ aesthetic meaning, and were derived at least in part from the of his work during the 1950s. material aesthetic of Paolozzi’s collage books, compiled with material often deliberately Attempts to create a meaningful sculptural 'skin' distressed to contrast with the glamour and appear earliest in the versions of Mr Cruikshank, of technology of the printed images from which they 1950, the model for which Paolozzi took from were made. If life was rough and broken, so too illustrations in American magazines. ‘Mr should be any given image of a man. These Cruikshank’ was the name given by American suffering surfaces came to define Paolozzi’s scientists to the wooden dummy of a human

1 fig.12 Paris Bird 1948, bronze 13 ⁄2 x 14 in / 34 x 35 cm Scottish National Gallery of Modern Art, Edinburgh

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shoulder-length bust used in X-radiography testing. Paolozzi cut-out articles on the experiments and included them on a double-page spread in the collage book ‘Crane and Hoist Engineering’ (titled after the book Paolozzi cannibalised as the template for his collage book). ‘A stand-in for a living man, Mr. Cruikshank has helped solve problems relating to X-ray treatment of deep brain tumours. His wooden noggin, sectioned to hold film, has the same X-ray absorption properties as the human head. He poses before a two-million- volt, X-ray generator in the Massachusetts Institute of Technology. His name, picked at random, has no special significance’, runs the caption for one. In Paolozzi’s hands the figure becomes a portrait bust of contemporary man, a representative of the anonymous mass. The surviving plaster model of Mr Cruikshank is divided up for casting, leaving seams showing on the bronze cast that suggest a fabricated human head, or a robot. For further versions of Mr Cruikshank, Paolozzi adopted a different method of fabrication, soldering together thin strips of tin cut from cans, producing something more tender and fragile, with the pathos of a reliquary bust (cat.7).13

Paolozzi was not alone in his interest in the motif of the human head, which presented an immediate solution to the introduction of the human body, whilst retaining a focus on abstract form. It was important enough to be the subject of an exhibition at the ICA in 1953, 'Wonder and Horror of the Human Head’, which was also the occasion for a lecture on ‘The Human Head in Modern Art’ by the critic . It appears more obliquely in the mysterious, inscrutable work Contemplative Object (1951; fig.13) comprising a rock-like form with strange carvings and markings, reminding us perhaps of the Mayan Zoomorphs from Quirigua, great unquarried sandstone boulders carved with animal motifs. A similar

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work, Study for a larger version in concrete (1951) was and yet there are people who do it every day in the one of three sculptures by Paolozzi shown at the foundries’.17 The high cost of metal founding, British Pavilion at the 1952 Venice Biennale which had proved prohibitively expensive for the (alongside Bird, and Forms on a Bow, both 1950).14 first Hanover Gallery exhibition, as well as the It was undoubtedly the first work by Paolozzi to need to take control of the process and appear on an international stage: Study for a larger experiment, made the home-spun approach more version in concrete was included in Michel Tapié’s attractive. In any case, since his days of producing 1952 publication Un art autre, and a cast was works in his student lodgings, rather than in the purchased by the Museum of Modern Art, New Slade studios, Paolozzi always seemed happier York, in 1952.15 Paolozzi’s affinity with the type of working from home. Still, only five works are dated ‘Art Informel’ being promoted by Tapié, and a to the next two years: the small unique bronze Fish young generation of European artists and critics, (the plaster original of which had been exhibited in can be seen by the comparison of his works by the exhibition ‘Young Sculptors’ at the ICA in those with Dubuffet, whose scarred and scratched 1952, and cast in bronze the next year at the figures seem rescued directly from the crumbling request of the owner) and Head from 1953; and walls and pavements of an older, now outmoded from the next year another work titled Head, this European habitat. Of the Study for a larger version time a version lying on its side showing its hollow in concrete, Paolozzi later wrote that ‘The artist construction, and the small, strange homunculi intends that the sculpture should represent Head and Arm.18 symbolically; the world of sea life’.16 Divorced from its body, the human head suggests a However much the ‘human’, societal element was psychology of form — a thoughtful mass pressing, he had remained, nevertheless in the constructed from the objects that it perceives. In realm of nature: he had yet to step outside this works such as the 1954 screen print Automobile magic circle and produce sculptures that were able Head, the motif functions as a way of showing the to reflect on nature as threatening and threatened, interaction of the body and society – it shows how something other to human life, but also dependent ‘objects from the environment became the collage- on it. The crucial moment, as is so often the case, skins of the beings in that environment’, in the came with the revelation of the possibilities words of Diane Kirkpatrick.19 Alongside Automobile presented by new techniques and materials. In late Head, a number of works on paper made in 1953 1953 Paolozzi took a room at 1 East Heath Road, show Paolozzi exploring the theme of the flattened Hampstead, the home of Dorothy Morland, then and de-featured human head in a manner very the director of the ICA. Together with her son, close to Dubuffet. The overriding sense is of Francis, also a sculptor, Paolozzi began casting pathos, of the human body, and psyche, subjected works at a home-made foundry using the lost wax to suffering. As such, Paolozzi takes his place in a method. Paolozzi later described his method: ‘Well tradition of modern sculptors who, as Leo you make an oven, you make a wax, and then you Steinberg put it, show the body not as the hero but put… investment round it as it’s called, and then as the victim of life.20 you burn the wax out, and then you just melt the metal and pour it in. And then after that there’s Paolozzi is in this sense close to Henry Moore, who still a lot of work getting rid of the investment and made figures of pathos throughout his life. cutting the runners off. It’s frightfully hard graft, Paolozzi's recumbent Head of 1954 could be by the

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1 1 fig.13 Contemplative Object c.1951, plaster with bronze coating, h.9 ⁄2 x 18 ⁄2 in / 24 x 47cm Pallant House Gallery, Chichester

older artist, if it was not hollow, a stark exposure of recorded in the marks left by that action on the sculpture as mere object to which Moore could surface. never resort. Moore’s figures may be pierced, but never actually empty. This hollowness is a means The comparison of Paolozzi and Moore is worth a both to emphasise a kind of symbolic affect of the brief aside. According to Lawrence Alloway, works — dehumanisation — but also to emphasise Paolozzi ‘avoided, like the plague, not only the the surface, and the sense in which the meaning of virtuosity of Reg Butler, but the competence of an object derives from what has been done to it, Henry Moore’.21 On the evidence of their works of

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the 1950s, there are however a number of points of information on a material ‘with similar properties close comparison. A Brutalist tendency – of scarred to plaster which can be used directly with molten surfaces and distressed organic forms – infuses metal without baking’.22 He probably discovered Moore’s work, for example in the small Head of the solution on his own — modelling directly in 1955, a knotted, primitive apparition directly wax. A number of small wax figurines show that comparable with Paolozzi’s version of the same Paolozzi had been experimenting with the medium subject from 1952. Moore’s Wall Relief maquettes at the time, making works recalling small figurines from the same year show a remarkably similar that Dubuffet had begun making the previous procedure to that developed by Paolozzi the year.23 It was however the combination of the use following year, of creating a relief by imprinting of wax and the type of relief panels that Paolozzi objects on a flat surface. If the ‘Brutalist moment’ had been making since the late 1940s which in Moore’s work showed his awareness of the produced the necessary synthesis. At some point importance of the sculptural surface as a conveyor during 1953/4 Paolozzi had made a large relief of meaning, it was an awareness he was unable to panel, which still exists, using wax, wood, and develop — he simply could not abandon the found objects. The decisive step came with the plenitude, sensuousness and essential optimism on realisation that the relief could be made in plaster, which so much of his work was based. Above all, it found objects used to create negative impressions was his inability to abandon the imagined notion over which molten wax could be poured to create of a ‘full’ sculptural form, even in those works such sheets with positive impressions. Paolozzi later as the Helmet Head series that have empty interiors, recalled that the wax-sheet sculptures had been that distinguishes his work from Paolozzi’s made at the small cottage at Thorpe Le Soken, relentless hollowness. A hollow head for Moore Essex, bought from Nigel Henderson in 1953, to was just a helmet – for Paolozzi it was a burnt out, where he had moved with his wife Freda the next yet still-living form. year. ‘I began with clay rolled out on a table. Into the clay I pressed pieces of metal, toys, etc. I also By 1955, however, Paolozzi had reached an impasse sometimes scored the clay. From there I proceeded in his quest to re-introduce the human figure. No in one of two ways. Either I would pour wax sculpture, cast or otherwise fabricated, is securely directly on to the clay to get a sheet or I would dated to this year. The meagre output was in part pour plaster onto the clay. With the plaster I then because his attention was direct elsewhere, to had a positive and a negative form on which to teaching textiles at Central St Martins, and to the pour wax. The wax sheets were pressed around founding of a textile and design company, Hammer forms, cut up and added to forms or turned into Prints Ltd, alongside Judith and Nigel Henderson shapes on their own. The waxes were cast into during the summer of 1954. Paolozzi was also faced bronze at Fiorini and Carney in London’.24 with the problem of finding a material by which he could make large sculptures with ‘collage-skins’. In It was on this basis that Paolozzi returned, the summer of 1954 he wrote to several foundries, extremely energetically, to making sculpture. 25 describing the orthodox lost-wax method he had During the summer of 1956 ten small sculptures been using, noting that while it was excellent for were exhibited at the Hanover Gallery, some of small scale work, it presented problems for which had been cast at Susse Frères in Paris.26 anything ‘life size and over’, and requested These works, all but one of which were made, or at

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least cast, in 1956, show Paolozzi’s first Gallery that Paolozzi's dramatis personae took to the experimentations with wax as a modelling medium, stage most memorably, in a striking survey of the and notably include the first version of Chinese first mature period of Paolozzi's sculpture – an Dog. Coeval with the Hanover Gallery exhibition, exhibition unrivalled since. Thirty-seven works the historic exhibition ran at the were displayed, including a host of smaller figures, . Eleven groups of artists from the King Kong-like Monkey eating a Nut (1957) contributed individual displays reflecting on to the pathos-laden two versions of Icarus (fig.15), contemporary art and life. ‘Group Six’ comprised made the same year, whose stumpy wooden arms, Paolozzi, the artist Nigel Henderson, and the broken at the elbows, strongly recall Dubuffet’s use architects Alison and Peter Smithson, who built a of twigs and wire to create his figurines; to an shelter-like pavilion, subsequently populated by imposing cohort of the larger figural works, such as Paolozzi and Henderson with objects and images, Japanese War God, of 1958 (fig.3). A photograph ‘symbols for all human needs’, according to the included in the catalogue shows Paolozzi sizing up exhibition catalogue. The display was titled ‘Patio to the wax model for this large standing figure, and and Pavilion’. It is noticeable that Paolozzi chose we get the sense of his satisfaction of having not to include his most recent sculptures, but overcome the technical difficulties of casting such rather Contemplative Object and also an a large figure, a rival for his own physical energy unidentified small mannequin-type figure, and presence. Of the smaller works shown at the comparable with a number of small figure Hanover Gallery, Shattered Head (cat.12) presents sculptures from 1956, such as Little Warrior. The one of the most complete statements of Paolozzi’s reason may have been pragmatic — most of his dialogue of surface and void. Patches of metal sculptures were on display at the Hanover Gallery define the head like bandages, the vacant interior exhibition which ran concurrently. Photographs visible through the interstices. Shattered Head is show an array of tiles and objects arranged on the one of the haunting hollow men of twentieth- floor as if from an archaeological dig. Some at least century art, a witness of life reduced to brute must have been ceramic tiles made by Paolozzi at survival. We may compare it with a sculpture made the Central School, but again are unidentified. by the Spanish artist Julio González two decades previously, Torso (1936), using a similar, if Although it remained largely uninhabited, ‘Patio antecedent method of fragmented planar and Pavilion’ may be seen as a stage on which the construction: the two works appear as if they have much larger figures Paolozzi began making at the been recovered from the same archaeological dig, time could have appeared. It was comparable in originally part of a single antique standing figure. this respect with a number of other display interiors of the time, spaces in which the new As a pathos-laden monument the human head figurative sculpture could be inscribed. For his motif is developed in a series of works beginning ‘Gallery for a Collector of Brutalist and Tachiste with Krokodeel (fig.1), a hollow bronze head just Art’ at the Ideal Home Exhibition of 1958, Richard over one metre high, and then with two Hamilton included, amongst other design objects monumental works from 1958; A.G.5 (cat.14), and and works of art, Paolozzi’s 1956 Chinese Dog as the Very Large Head. These works are both cast and only sculpture. It was however at the Hanover welded — Paolozzi cast sections from wax

fig.14 St Sebastian No.III 1958–9, bronze, h.87 in / 221cm Rijksmuseum Kröller-Muller, Otterlo

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originals, and then had these welded together to vision of the future as already past, a ‘used future’, form a hollow, almost cage-like structure. The to use a term that became dominant in post-War surface is dirty and pitted, here encrusted with American cinema. objects, studio and mechanical detritus, there with typographers letters, sometimes with just an earthy Paolozzi considered his sculpture Jason, made in unidentified substance. Present-day objects are 1956 and now in the collection of the Museum of lifted into a timeless sphere where the future is Modern Art, New York (fig.4), as one his best works figured as a ruin, and antiquity as a presentiment of the period. The title and forms of the sculpture of this ruin. Time is collapsed within the course were inspired, he later wrote, by Martha Graham’s fabric of a human — barely human — figure. briefing for the character of Jason in the ballet Medea, by Samuel Barber, subtitled ‘Cave of the Having established this new, monumental Heart’, who ‘should exist on two time levels, the figurative style of sculpture, based on collage and ancient and the modern world’.29 By contrast with assemblage with a strong emotive resonance, other monumental standing figures, Jason is a Paolozzi began to develop individual motifs, fragile, delicate work, life-size and with a slight notably the head and the standing figure. Nowhere sense of contraposto, that in such a fragmented is this dialogue of antiquity and modernity more figure can only be read as pathos. In a set of powerfully embodied than in the series of standing teaching notes produced for students at St figures that Paolozzi began to make from 1956, Martin’s School of Art the next year, Paolozzi used which dominated the display at the Hanover Barber’s configuration of Jason as at once a ‘God- Gallery. Michel Leiris's description of Giacometti's like superhuman figure’ of Greek tragedy, who sculptures, published in English in 1949, holds would then step out of his legendary role and true for those by Paolozzi, envisioning them as become ‘modern man’.30 points at which 'thousands of years of antiquity converge with an abrupt interruption of time: the The same may be said for the four major figures of sudden uncovering of a figure in which the whole St Sebastian (fig.2 &14) that, in a strange way, echo of a long past is for ever summed up’.27 Yet the four earlier Forms on a Bow, made ten years Paolozzi’s figures also arise from a different vision previously.31 With reference to the second in the of the future, and the past — not of timeless series, purchased by the Guggenheim Museum, humanity, but deeply implicated with the New York, in 1958, Paolozzi stated that he was technology of his day, and as such occupy a interested not in the iconography St Sebastian’s different physical and imaginary space: the thickly- martyrdom by bow and arrow, but rather in his encrusted surface of Robot (1956), comprising small ‘second’, less well-known martyrdom, being objects lost in a lava-like surface, hollow, brittle, ‘clubbed to death by his company after not seems as if salvaged after centuries at the bottom shooting to kill’, according to Paolozzi, who added of the sea — the ‘vernacular spolia of reality’, as that it was not based on religious belief, but rather they have been pungently described.27 Paolozzi’s on his interest in the ‘irony of man and hero – the ‘brutalist’ vision was not of gleaming perfection hollow god’.32 and technological optimism but of decay and obsolescence. It is a vision of the present based on The monstrous cranium, encrusted torso and a vision of the future, but with little idealism: a tubular legs of St Sebastian II are indeed all

fig.15 Icarus II 1957, bronze, h.60 in /100 cm Scottish National Gallery of Modern Art, Edinburgh

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hollow, ‘caves of the heart’ constructed from the Gallery in New York in 1962, and currently detritus of a timeless world. Pathos is perhaps over- untraced, suggests a precarious, pre-fabricated emphasised by the words formed by typographers tower, an anonymous corporate architecture with letters attached to the back of the figure, ‘Please threatening potential. Such a reading is borne out leave me alone’, which suggest also the personal by a work made the following year, Tyrannical nature of these sculptures for Paolozzi; their status Tower, a stacked-box structure incorporating as alter-egos. In a further work in the series, St heavily worked relief surfaces. Architecture Sebastian III (fig.14) the distinction between the evolves as a metaphor for power structures, and head and the torso has disappeared entirely, and thus retains a connection with the human body in the impression is given more of a tower block on terms of ‘personality’ – but all other formal stilts, in ruin. references are gone.

I suggested at the beginning of this essay, in What might we make of all this? After 1964 relation to the 1963 The World Divides into Facts, Paolozzi became a different type of artist: more that Paolozzi’s concerns shifted from the human worldly, perhaps, with more extensive resources at body to the architectural at the beginning of the his disposal. None of the later works, particularly 1960s.33 In fact the transition was more gradual, the large public sculptures, achieve the same and it was clear that architectural elements, both in intensity of form of the 1950s, the imbrication of terms of principles of construction, and formal worldly clutter and an intelligent vocabulary of motifs, were already part of his large figurative sculptural form. For the first decade after the war works during the 1950s. If St Sebastian III seems Paolozzi dealt with nature and natural imagery half-man, half-tower block, then the impression of that could be referred back to Klee, Picasso and an architectural edifice is even less ambiguous in a Ernst in equal measure; but after his return from further series of works made around 1958/9, in Paris, with the introduction of the ‘image of man’ particular His Majesty the Wheel (fig.16) and (as it was then so often termed) the focus shifted Mechanik Zero(cat.15), both dating to that time. from the mystery of nature to nature’s ruin: to the Mechanik Zero in particular shows the organic spectacle of a ‘used future’ that had already begun. forms of the human figure tipping into an The power of Paolozzi’s vision came from his engineered form, imposing a rich set of rhythms on obsession with the fate of the things of his world, this metaphor, and suggesting a renewed use of rather than arising from a concept of ‘art’, and his surrealist metaphoric form. By 1960 the shift was work may be best described as a vast archive of complete, the transition even recorded in the title worldly things. From today’s perspective the early of a work from 1960 –1, Legs as Lintels. The idea of sculptures constitute both the foundation and the the human body as an architectural construct – standards by which the rest of this archive is essentially a post and lintel structure of legs and ordered; and one of the most intriguing and torso, uncomplicated by arms or distinction advanced bodies of sculpture produced anywhere between torso and head – is carried on in certain in the post-War world. of these works. In others, such as Triple Fuse, all sense of human reference disappears. With it disappears also an important animating element of Paolozzi’s early work, which he was not to recapture. Triple Fuse, exhibited at Betty Parsons’

fig.16 His Majesty The Wheel 1958, bronze, h.60 in /152 cm Scottish National Gallery of Modern Art

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Notes

With thanks to Evelyn Hankins, Carmen del Valle Hermo, a series of slabs with strange organic markings. It is perhaps less Jennifer Schauer, Aimee Soubier and Eugenie Tsai. successful in evoking an absent human form than a work from the previous year, The Cage, a strange organic cage-like structure 1) [REF] made from wire and plaster. The notion of a linear wire sculpture also informed one of Paolozzi’s first public sculptures, his 2) F. Whitford, ‘Eduardo Paolozzi’, in: exh. cat., Eduardo Paolozzi, fountain for the 1951 Festival of Britain exhibition; a work that London (Tate Gallery) 1971, pp. 6 – 29, here pp.7-8. See below for looked forward to the many public commissions that he was to a challenge to this conservative view of Moore. complete later in his career.

3) The lost plaster original is dated 1946 according to a typed 14) It had been first shown at the exhibition Young Sculptors at memorandum of agreement that Paolozzi drew up with a lawyer, the ICA in 1952. dated 16th April 1960, in which Paolozzi gave the bronze version of Bull to his wife, Freda. 15) See: A.H. Barr, ed., ‘Painting and Sculpture Collections, July 1, 1951 – May 31, 1953’, Bulletin, vol. xx, nos.3-4, Summer 1953. 4) E. Paolozzi, ‘Memoir’, 1994, reprinted in Robbins, pp.53-60, here p.55. 16) Paolozzi described how the sculpture was made: ‘The moulds were made directly in clay: modelled in the negative : (after 5) Ibid., p.59 pouring and setting) the moulds were destroyed on removal from the work; the cast at the M.M.A [he is referring to the Museum of 6) Two versions of the sculpture in coloured concrete, one white, Modern Art, New York] was made by gelatine moulding’. Museum one red, were exhibited at the 1947 Mayor Gallery exhibition Collection Files. Department of Painting and Sculpture: Paolozzi. Drawings by Eduardo Paolozzi (only later, in 1974, was the work The Museum of Modern Art, New York. Cited hereafter as: cast in bronze). MOMA – Paolozzi.

7) Ibid., p.59 17) Eduardo Paolozzi, Oral History, interviewed by Frank Whitford, 1993-5, .

8) Eduardo Paolozzi, ‘Statement’, in: State of Clay, exh.cat., 18) The dating of these works is imprecise, and contested; and Sunderland (Arts Center), 1978, n.p. the task of identifying any chronology or sequence is made harder by the closeness in subject matter of the works, and often 9) See, for example, D. Kirkpatrick: Eduardo Paolozzi, London identical titles. The dating of the Pallant House Standing Figure 1970, and W. Konnertz: Eduardo Paolozzi, 1984. Like to 1953 is questioned in footnote 22 below. many of Paolozzi’s works from this period, the original of Two Forms on a Rod has been lost: in this case it consisted of a single 19) D. Kirkpatrick, Eduardo Paolozzi, New York, 1969, p.29. column with a projection which was then cast twice, at later date, probably in the early 1950s, and joined together to form the metal 20) Leo Steinberg, ‘Gonzalez’, reprinted in Other Criteria, 1972, version. pp. 241-250, here p.243.

10) EP, interview with Richard Cork, broadcast on BBC Radio 3, 21) L. Alloway, ‘Eduardo Paolozzi’, Architectural Design (April March 1986. Cited in R. Spencer, ed.: Eduardo Paolozzi: Writings 1956), p.133. and Interviews, Oxford 2000, p.65. For a contemporary appraisal of Giacometti that Paolozzi knew, see: Michel Leiris, ‘Contemporary 22) EP to ‘The Sales Manager, Morgan Crucible Ltd.’ (also sent to Sculptors VII – Thoughts around Giacometti’, trans. Douglas a London-based foundry); 26th July 1954; reprinted in Spencer, Cooper, Horizon, 19 (June 1949), p.411-17. op.cit. (note 10), pp.74–5. It is on this basis that the date of the Standing Figure in the collection at Pallant House, of 1953, may 11) Eduardo Paolozzi – Drawings and Bas-Reliefs. be questioned. The technique of constructing a large figure using moulded and embossed sheets of wax was only developed 12) These were cast at Morris Singer Foundry, Wilkinson’s a few years later, in 1956. No other works of this size or nature Foundry on Tottenham Court Road, and Fiornini and Carney, exist from this time, and it is highly unlikely that such a Peterborough Mews, Fulham. pioneering work would have gone unremarked at the time, or indeed subsequently. 13) Other works made around the same moment show different attempts to bring collage and bas-relief together to evoke the 23) The further comparison between these works and the wax human figure, notably in Paolozzi’s maquette for the Unknown figurines of Edgar Degas is, striking — Degas’ small sculptures Political Prisoner International Sculpture Competition (1952), showing were only cast in bronze after his death. They show various

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female figures, dancers and bathers, as well as horses, comprised of rough lumps of clay, often using objects embedded in the sculptures’ surface. The wax figurines had resurfaced after the war, and in 1955 were exhibited at Knoedler’s gallery in New York.

24) EP to Angelica Rudenstine, 5th August 1983. Cited in Spencer, op.cit. (note x), p.80. This ‘collage’ method is demonstrated by a set of photographs of Paolozzi at work taken around 1958. R. Fiorini & J. Carney were located in Fulham, moving from Michael Rd to Peterborough Mews in 1961; Fiorini cast Shattered Head, and Chinese Dog 2, amongst other works.

25) And also returned to teaching sculpture on a part-time basis at St Martin’s School of art (from 1955 to 1958)

26) These were: Bull (1946), and Shattered Head, Black Devil, Frog eating a lizard, One-armed torso, Man and motor-car (two versions), Small Figure (two versions) and Figure (all from 1956). These were all still on a relatively small scale, the largest being Black Devil (untraced) at 19 inches high.

27) Michel Leiris, ‘Contemporary Sculptors VII – Thoughts around Giacometti’, trans. Douglas Cooper, Horizon, 19 (June 1949), p.411-17, here p.415.

28) D. Herrmann, ‘Bronze to Aluminium and back again: Eduardo Paolozzi’s use of Materials in Sculpture c.1957–71’, Sculpture Journal 14 (December 2005), pp.71–85, here p.74.

29) MOMA – Paolozzi.

30) E.P. ‘Four Design Problems for Students of St Martin’s School of Art’, 1957. Reprinted in Spencer, op.cit. (note 10), pp. 79-8, here 78.

31) There are two versions of St Sebastian no.1, one in the collection of the Art Gallery of Ontario, Toronto; the other in the Scottish National Gallery of Modern Art, Edinburgh.

32) ‘notes on Paolozzi’s conversation with Las’, 23rd March 1959, inter-office memorandum. Guggenheim Museum Archive: Eduardo Paolozzi.

33) Robin Spencer notes the same transformation in Paolozzi’s writings, which became ‘more structured and architectural’ in the 1960s, by contrast with the previous decade, during which it evolved more organically. p.29

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Exhibition Catalogue cat.2 Horse’s Head 1947, concrete, h.30 in / 76 cm Private Collection, London

cat.1 Bull 1946, bronze, l.17in / 43 cm Jonathan Clark Fine Art, London

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1 cat. 3 Icarus 1949, bronze, h.12 ⁄2 x 14 in / 32 x 35.5 cm Private Collection, London

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1 3 cat. 4 Forms on a Bow No.2 1949, bronze,19 ⁄2 x 24 ⁄4 in / 49 x 63 cm Museums and Galleries J W575 Paolozzi book_11 03/10/2011 17:28 Page 42

1 cat.5 Two Forms on a Rod 1948–9, bronze, 21 x 25 ⁄4 in / 53 x 64 cm Private Collection, London

1 cat.6 Table Sculpture (Growth) 1948, bronze, h.32 ⁄2 in / 83 cm Private Collection, London

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1 cat.7 Tin Head – Mr Cruikshank 1950, tin, 11x 9 ⁄2 in / 28 x 24 cm Tate

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cat.8 Head Looking Up c.1956, bronze, h.11in / 28 cm Private Collection, London

3 cat.9 Standing Figure 1957, bronze, h.30 ⁄4 in / 78 cm Daniel Katz, London

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1 cat.10 Standing Figure 1953, bronze, h.34 ⁄2 in / 88 cm Pallant House Gallery, Chichester

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cat.11 Study for Tall Figure 1956, bronze, h.17in / 43 cm Private Collection

1 cat.12 Shattered Head c.1956, bronze, h.11 ⁄4 in / 31cm Private Collection, London

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cat.13 Little King 1957, bronze, unique, h.56 in / 142 cm Private Collection

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cat.14 A.G. 5 1958, bronze, 40 x 30 in / 102 x 84 cm Offer Waterman & Co., London

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1 cat.15 Mechanik Zero 1958–9, bronze, h.75 ⁄2 in / 191.6 cm British Council Collection

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cat.16 Large Frog 1958, bronze, h.36 in / 92 cm Private Collection

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Acknowledgements Jonathan Clark Fine Art would like to thank all those who have contributed to the exhibition and catalogue, in particular Toby Treves of the Paolozzi Foundation for his advice and support throughout; Robin Spencer & Caroline Cuthbert for their help in liaising with private lenders; Simon Martin at Pallant House Gallery; Jill Constantine, Lizzie Simpson & Victoria Avery at the Arts Council; Diana Eccles, Marcus Alexander & Silvia Bordin at the British Council; Penelope Curtis, Katherine Richmond & Nicole Simoes da Silva at Tate; Rebecca Herman & Jim Bright at Leeds City Art Gallery; Simon Groom at The Scottish National Gallery of Modern Art; Adrian Gibbs at the Bridgeman Art Library, Adrian Glew & David Pilling at Tate Archive. Finally, thanks are due to all the lenders to the exhibition who wish to remain anonymous, but whose generosity has not been unnoticed

Photo Credits All works © The Paolozzi Foundation / DACS

All photography © David Farrell / Courtesy of the Artist except frontispiece © Nigel Henderson / Courtesy of Tate Images; p. 29 © Mark Kauffman / Courtesy of Time Life Pictures / Getty Images; fig. 7 Courtesy of Scottish National Gallery of Modern Art Picture Library; figs 11 & 13, cat. 10 Pallant House Gallery, Chichester, UK/ Wilson Gift through The Art Fund/ The Bridgeman Art Library; cat. 7 © Tate, London 2011 / Courtesy of Tate Images; figs 6, 9, 10 & cat. 3, 8, 11 Douglas Atfield / Courtesy of Jonathan Clark Fine Art

Exhibition curated by Simon Hucker

Texts © Peter Selz & John-Paul Stonard Catalogue © Jonathan Clark & Co (Artists Estates)

Designed by Graham Rees Printed by The Five Castles Press, Ipswich

Published by Jonathan Clark & Co, London 2011

ISBN 978-0-9565163-6-7

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic Jonathan Clark Fine Art or mechanical, including photocopying, 18 Park Walk Chelsea recording or any other information London SW10 0AQ storage or retrieval system without t. +44 (0) 20 7351 3555 prior permission in writing from the gallery. www.jonathanclarkfineart.com J W575 Paolozzi book_11 03/10/2011 17:28 Page 61 J W575 Paolozzi book_11 03/10/2011 17:28 Page 62 J W575 Paolozzi book_11 03/10/2011 17:28 Page 63 J W575 Paolozzi book_11 03/10/2011 17:28 Page 64 J W575 Paolozzi book_11 03/10/2011 17:28 Page 65 J W575 Paolozzi book_11 03/10/2011 17:28 Page 66 J W575 Paolozzi book_11 03/10/2011 17:28 Page 67 J W575 Paolozzi book_11 03/10/2011 17:28 Page 68 J W575 Paolozzi book_11 03/10/2011 17:28 Page 69 J W575 Paolozzi book_11 03/10/2011 17:28 Page 70 J W575 Paolozzi book_11 03/10/2011 17:28 Page 71 J W575 Paolozzi book_11 03/10/2011 17:28 Page 72 J W575 Paolozzi book_11 03/10/2011 17:28 Page 73 J W575 Paolozzi book_11 03/10/2011 17:28 Page 74 J W575 Paolozzi book_11 03/10/2011 17:28 Page 75 J W575 Paolozzi book_11 03/10/2011 17:28 Page 76 J W575 Paolozzi book_11 03/10/2011 17:28 Page 77 J W575 Paolozzi book_11 03/10/2011 17:28 Page 78 J W575 Paolozzi book_11 03/10/2011 17:28 Page 79 J W575 Paolozzi book_11 03/10/2011 17:28 Page 80 J W575 Paolozzi book_11 03/10/2011 17:28 Page 81 J W575 Paolozzi book_11 03/10/2011 17:28 Page 82 J W575 Paolozzi book_11 03/10/2011 17:28 Page 83 J W575 Paolozzi book_11 03/10/2011 17:28 Page 84 J W575 Paolozzi book_11 03/10/2011 17:28 Page 85 J W575 Paolozzi book_11 03/10/2011 17:28 Page 86 J W575 Paolozzi book_11 03/10/2011 17:28 Page 87 J W575 Paolozzi book_11 03/10/2011 17:28 Page 88 J W575 Paolozzi book_11 03/10/2011 17:28 Page 89 J W575 Paolozzi book_11 03/10/2011 17:28 Page 90