1900 - 1950's Group Presentation

1900 - 1950's 

Within my sculpture session, we were put in to groups to create a collaborated presentation based on exploring an era. I was given the 1900s to 1950s, we researched in various contexts to gather information in which we learnt. I explored artists which I found interesting which created a contrast within our presentation, highlighting the different aspects within this era, such as William Reid Dick and Barbara Hepworth.

All around us, in our streets and city squares and on the buildings we walk past, is the work of the sculptors of the early twentieth century.

Our towns and cities are mainly late nineteenth or early twentieth century in their current appearance, and sculpture is a recurrent part of their fabric.

Exhibitions

During this era there was a shift from private institutions and individual exhibits to exhibitions open to the public. Sculpture was decided that it was hard to exhibit due to the size and weight of the sculpture compared to a painting.

The Raise

The start of the raise of sculpture came from the men in the 1850s and 1860s by artists such as John Henry and John Bell. This continued into the 1900s, when the Society of British Sculpture was found in 1904, this caused promotion and awareness of sculpture. Specifically since 1945 where British sculptors became internationally recognized.

Material

Bronze became a popular choice of material in the 1900s as well as the material terracotta. Artists started to experiment with materials and mixing different and new media together. They also started to introduce colour in a more central format.

Cubism

There was controversy over cubism and sculpture, a debate on whether you can call sculpture cubistic; this was dominated in 1908 to 1914.

Travel effected sculpture, as artists are able to see other places and cultures, as well as materials and objects being imported. Specifically African masks affected this.

War

The First World War effected sculpture as artist found it hard to display heroic soldiers. The horror of war touched and affected everyone. Memorials start to be made in honour in a respectable manner.

Figures and Surrealism

The human figure became prominent during this time; instead of going down the realistic road artists began to look at surrealism. The idea behind a surrealistic object became poetic.

The sculptor Henry Moore manages to portray a dream like sculptures.

Henry Moore, Reclining Figure, 1939, Bronze on wooden base, 137 x 254 x 86 mm

Alberto Giacometti

Swiss Artist

1901-1966

He was declared a highly gifted artist worldwide.

He was well travelled.

He grew up in an artistic family; his grandfather and father were painters, his brother an artist and his other brother an architect.

Alberto Giacometti, Seated Man, 1949, Oil Paint on Canvas

Figure

He became interested in the human figure, both in drawing and sculpture, he used his nephew multiple times as his model.

He became interested in sculpture after seeing a bust and started to experiment with plasticine.

He visited sculptor Henri Laurens who focused on the figures in an abstract and surreal way. This then inspired him to do the work that he is now famous for.

He wanted to break out of the idea of a model just standing there; he wanted to create the unique within the general.

Henri Laurens, Head of a Young Girl, 1920, Limestone, 393 x 174 x 125 mm

Alberto Giacometti, Man Painting, 1947, Bronze

Auguste Rodin

French Artist

1840-1917

Auguste Rodin had his first solo exhibition in his own country in 1900 at the age of 60.

He exhibited over 150 sculptures and many works on paper.

Rodin had received a commission for the work that was to become ‘The Gates of Hell’ in 1880, but it was not until 1900 that this work was finally shown in public.

Auguste Rodin, ‘Gates of Hell’

‘The Rodin Exhibition’ in Pavillon de l’Alma, Paris 1900, lasted from June to November and Rodin was there in person most days.

The hall was brightly lit by tall windows and divided by screens into smaller rooms, which gave the impression of an informal intimacy.

Sir Thomas Brock

English Sculptor

1847-1922  

Thomas Brock

Brock was born in Worcester, attended the School of Design in Worcester and then undertook an apprenticeship in modelling at the Worcester Royal Porcelain Works.

He first came to prominence when he was asked to complete the statue of Prince Albert for the Albert Memorial.

Thomas Brock, Albert Memorial, 1872

In 1901 Brock was awarded the colossal equestrian statue of Edward the Black Prince, set up in Leeds City Square.

Thomas Brock, Edward the Black Prince, 1901

Sir Thomas Brock was also given perhaps his most significant commission, the vast multi-figure Imperial Memorial to Queen Victoria in front of Buckingham Palace. According to legend, at the unveiling in May 1911, George V was so moved by the excellence of the memorial that he called for a sword and knighted Brock on the spot.

Thomas Brock, Victoria Memorial, 1911

Barbara Hepworth

English Sculptor

1903-1975

1920-21

Leeds School of Art

1921-24 

Studies sculpture at the Royal College of Art, London.

Barbara Hepworth, “Mother and Child”, 1934

This presents Hepworth's experience of motherhood, she created this piece whilst pregnant. It reflects the relationship between mother and child.

William Reid Dick

Scottish Sculptor

1878-1961

This carving of a child head creates a sense of innocence reflecting fragility.

The marble is contradictive to this as it a solid hard material, creating a sense of negativity within the piece almost suggestive of a skull highlighting death.

William Reid Dick, Dawn, 1921, Marble

Pablo Picasso

Spanish artist

1881-1971

Picasso experimented with sculpture between 1912-14 and produced several guitars. These were clearly unconventional in body but very intriguing in that he had took each component and stuck them together in which ever way he saw fit. The sculptures still resemble guitars however they are purely cubism in nature.

Once the presentation was complete we were given feedback on how it was presented and the information included. Overall it was positive, we were clear, loud and they could understand what we were telling them. Our presentation had a wide variety of facts and different artists but to improve could add a timeline that clearly shows the changes during this time. Introduce the movements that happened during this time as well as the better-known sculptors such as Duchamp. Also include more photographs and facts on what happen internationally.