Page 82 - Studio International - July/August 1967

Autumn Sculpture renaissance? book which includes both Epstein and Witkin to be
comprehensive In essentials, and to omit all Hep­
worth's stone carvings of the thirties while repro­
ducing over twenty of her post-war works seems
,
Books Thames & Hudson, 153 pp., 42 colour, 88 monochrome wrong from every angle. Predictably, Moore (with
Moder_n English Sculpture by A. M. Hammacher,
twenty-eight plates) and Hepworth (twenty-seven)
are the stars, but Caro, with only one work illustrated,
plates, 6 gns.
seems poorly served by comparison. Paolozzi is
From As the author (the ex-Director of the Kroller-Miiller better treated and his work stands clear and strong.
In his 'Forms on a Bow' of 1949 he showed that he
could use the 'Geometry of Fear' as well as any of the
Museum) states at the beginning of his study, the
Phaidon history of English sculpture In this century 'is stfll middle generation, and his subsequent reaction
appears the more Impressive for it.
awaiting its English exposition'. For some time the
Professor Hammacher's introduction sets out the
need has been obvious for a really comprehensive
volume of good photographs which would survey the
senses his awakened interest and his Inquiring mind.
development of English sculpture from Epstein principle points of reference for his subject, and one
through the sixties. Events like the last open-air He has unfortunately been most ill-served by his
Manet. A 50 Colour-Plate book. John exhibition at Battersea arouse in the interested mind translator, although at times the prose is so matted
Richardson's essay on Manet's life teasing questions about the nature of this develop­ that one suspects the original: 'The sculptural birth ...
and complex personality, his ment: aboutthe extent of Moore's influence (Meadows·, should not be seen as a phenomenon isolated from
development as an artist and his place Caro, Phillip King and Piche have been among his a kindred orientation and fructification in painting.'
in modern art. 90 pages. 50 plates in assistants), and the nature of the various reactions Those who are able to surmount the obstacles
colour. 14 text illustrations. 12 x 9 in. against it: about the sudden rise to International presented by the translator's prose will find much
27s6d fame of the middle generation sculptors, under the useful information contained,in the text. The original
aegis of the British Council, and the subsequent ideas are to be found in the sculptures. This is not
Egypt. By K. Lange and M. Hirmer. revaluation, (in retrospect Moore seems to dominate quite the book we have been waiting for-Moore and
•Revised and greatly expanded edltion the fifties). A good book should be able to supply Hepworth were already well documented and lllus•
trated and greater coverage of the post-war period
of a famous survey of Egyptian art material for some of the answers. would have peen of more value-but it will do until a
It is always a little difficult in a publication of this
over 3000 years. 500 pages. 270 more thorough survey is published.
full-page monochrome illustrations. kind to be certain of whether it is the photograph or The true heroes of this well-produced volume, the
60 colour plates. 12 x 9 in. 120s the sculpture that is winning our admiration. The
photos in Professor Hammacher's book are for the photographers, deserve better credits than are
most part excellent. The selection of works, however, contained in the brief acknowledgements hidden at
Renaissance Medals from the leaves a certain amount to be desired. One expects a the back. Charles Harrison
Samuel H. Kress Collectfon.
G. F. Hill's classic catalogue raisonn�
of the medals formerly in the Dreyfus
Collection. Revised and brought up to
date by Graham Pollard, Keeper of
Coins and Medals at the Fitzwilliam Reading this biography one encounters a martyrdom
Museum, Cambridge. x + 310 pages. Life of almost comparable in its pain and senselessness to
1200 illustrations. 11¾ x 8¾ in. 90s
Bomberg those of Van Gogh or Gauguin, about whom the big
wide-screen pathetic movies have already been
French Painting in the Time of Jean made. This is not to suggest that Bomberg was a
de Berry. By Millard Meiss. A detailed comparable artist. But that is irrelevant to the suffer­
study of art under the patronage of David Bomberg by William Lipke. Evelyn, Adams and Ing and senselessness of the martyrdom.
Jean, Due de Berry (1340-1416). Text Mackay Ltd, 156 pp. 14 colour, 40 monochrome plates, Bamberg was a true artist who had something
volume: 400 pages. Plate Volume: 400 £3. important to say. This was not recognized in his
pages with 845 illustrations, 12 ln colour. lifetime, and the result was a waste-a waste of his
12 x 9 in. £7 10s set The first book to be published <!bout the most impor­ own suffering, a waste of what he might have become
tant British painter of our time. This should be had he, been encouraged, a waste of his direct,
recommendation enough. The book contains 40 repro­ living influence.
Studies in Renaissance and ductions of Bomberg's pictures In black and white In a short review It is not possible to substantiate the
Baroque Art Presented to Anthony and 14 in colour. There is an appendix: of 8 pages claim that he was an important artist. But the claim
Blunt on his Sixtieth Birthday. devoted to a selection of Bomberg's writings. The has to a large measure already been substantiated by
31 essays in English, French and text gives a great deal of 'factual information about writars like David Sylvester and Andrew Forge; and
German. 270 pages. 200 illustrations Bomberg's life and analyses the paintings in terms of his works, which bear their own testimony, are there
on 76 pages. 12 x 9 in. 84s. his declared aims. to be seen.
The book Is dedicated to Lilian. Bomberg, the It may seem churlish to criticize the faults of this
painter's widow, and uses a number of quotatiorts welcome book: faults which are so much the result of
Catalogue of Pictures at Christ from her own writing describing the conditions under the treatment which the artist received during his
Church, Oxford. A definitive which David Bamberg worked. Even where it does life. Yet critioism cannot make amends for Its previous
catalogue by J. Byam Shaw. 270 pages not rely upon quotation, the text has clearly been superficiality by suddenly becoming sentimental.
178 illustrations, 6 in colour, on 156 directed and inspired by the opinions and evidence If It Is worth writing the biography of an artist who
pages. 64 text illustrations. 12 x 9 in. of the woman who shared not only so much of Born­ suffered in the way that Bamberg did, it is worth
84s berg's life but also the lonely belief In his art. trying to tell the truth about his life. The life is rele­
Bamberg led a hard life and suffered deeply from vant not only for the art-historical information it
neglect and critical misapprehension. It is implied by affords about his works; it is relevant also as an ex­
the author that this helped to kill him. Only a few ample of how our society abuses, wastes or distorts
Phaidon Press Ltd years ago the dealers who are now profiting out of thousands of talents-and not only the talent for
Bamberg dismissed with a contemptuous shrug any painting. But the truth is essential; especially the
5 Cromwell Place claim that he was a painter worth considering in the truth about the mechanism by which social pressure
London SW7 least seriously. subjectively harms and warps the talented.
Bomberg remains a vivid and tragic example of the There is overwhelming evidence that at least during
total falseness of the view that all important artists the latter part of his life Bamberg became desperately
are now bound to be recognized in their l1fetime. paranoiac. It may even be that this paranoia contribu-
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