Barbara Hepworth
Barbara Hepworth
Dame Jocelyn Barbara Hepworth DBEwas an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. She was one of the few female artists to achieve international prominence. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the Second World War...
NationalityEnglish
ProfessionSculptor
Date of Birth10 January 1903
midnight found
I found one had to do some work every day, even at midnight, because either you're professional or you're not.
succeed failing united-nations
The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.
yield details tiny
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
art body draws
I rarely draw what I see. I draw what I feel in my body.
art men wish
At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. Art is anonymous. It's not competitive with men. It's a complementary contribution.
integrity ideas intuition
Before I start carving the idea must be almost complete. I say 'almost' because the really important thing seems to be the sculptor's ability to let his intuition guide him over the gap between conception and realization without compromising the integrity of the original idea; the point being that the material has vitality - it resists and makes demands...
people sculpture body
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
thinking hands sculpture
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.
art memories father
All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.
country inspiration moving
I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.
thinking artist community
The naturalness of life... the sense of community is, I think, a very important factor in an artist's life.
art past imitation
My works are an imitation of my own past and present.
past emotional creative
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
form hollow thrust
I am the form and I am the hollow, the thrust and the contour