Page 45 - Studio International - June 1966
P. 45
Opposite
Curved form (Orpheus)
1956
Oil and pencil
30 x 28 in.
Professor A. M.
Hammacher, Holland
Right
Construction 21966
Oil and pencil
40 x 35 in.
tializes relationships. Relationship itself is the animating insights endlessly experienced by men, but seldom
principle of her sculpture. noticed by them, until fixed and confirmed in a work of
Barbara Hepworth's associations with places are impor- art. To see Miss Hepworth's sculptures in her Cornish
tant to the understanding of her work. The landscapes of garden—or in any open place—is to witness the trans-
Yorkshire, Cornwall, Italy, and Greece have consistently formation of their massive austerity. A work such as Sea
stimulated her imagination; but perhaps more than this Form (Atlantic) 1964* becomes incandescent and tender in
the quality of light in these places. The clinging of light sunlight, without losing the force of its still contour and
to volumes, the penetration of forms by light, the dis- deliberate mass.
posal of shadows as structural elements in the perception This quality of animating stillness simply by engaging
of mass are part of her vision of things. In fact, they are light is by no means confined to the pierced sculptures.
255
