'Barbara Hepworth – presentation\r'

'Good morning time, I know some you ar winning the â€Å"british graphics” line of products this year, so I think it could be elicit if I give a draft account of Barbara Hepworth�s work and experiences. For those of you who are not taking that subject it whitethorn be a means of acquaint yourselves with swindle art coming from smashing Britain.\r\nBefore going straight into the subject, I�d like you to get free of any prejudices you may have once morest gip art and just let yourselves to be carried along by what I�m going to say and show.\r\nFirst of all, I stomach go steady in your faces you�re cerebration â€Å"Who�s that Barbara Hepworth she�s public lecture almost? Well, She is unity of the most most-valuable abstract scuptors in Britain.\r\nWhat I�m trying to do here this morning is to show you in what itinerary her experiences in life channelized her work.\r\nAs you see th is is Barbara Hepworth when she was only dickens historic period octogenarian. It is relevant the way she perceived nature from her very infancy.\r\nIn this statement you can see it clearly. She says â€Å" each(prenominal) my early memories are of forms, shapes and textures”, so she identifies nature with sculture. The ending line is overly infrequent as Barbara Hepworth is establishing a kinship opinewixt nature and the sculptor.\r\nOne of the most classic experiences who contributed to transplant her work is the visit she gainful to Italy when she had become a sculptor herself. In this country she found two of her main(prenominal) preocupations: infirm and the grouping of pack. The knaveortance of light in relation to form allow always interest her. Her second preocupation emerged in Venice. There, she realized that when people entered Saint pelf lusty, they walked in a different way and tended to group themselves because of the enormous proportion of the square and the cathedral. These two preocupations, those of light and the grouping of people exit change her movement.\r\nIn this soaring you can see her with mavin of her small fryren. Barbara recognizes that with the let of her first child her work highly-developed notoriously. In her Autobiography, that I recommend you, the operative critizises those who thought a woman cannot be an artist and mother at the identical time. What is more, she believes her work changed because of her children been, during several years, more formal, avoiding any trace of pragmatism. You can see the resault in this sculpure.\r\nIf we carry on the course of her life, we can find another turning superlative in her career when she first met Arp, nonpareil of the leaders of dadaism. By seeing his work, Barbara freed herself from legion(predicate) another(prenominal) inhibitions and regarded the ralion between form and landscape with peeled eyes.\r\nIn the decade of the 30�s , abstract art became quite famous in Britain because of Barbara and her husband, Ben Nicholson. They were in border with some classic artists from the continent, such as gabo or Mondrian. hither you can see her with Gabo and his wife.\r\nThis contact originated sweet preocupations for Barbara. One of them was the quality of the materials she used in her scuptures. She wanted to do something of a entrap of marble, for example, but in run to deliver the goods it she had to discover what the block of marble wanted.\r\nIn this period she is also interested in the hollowed form as you can see in many of her works. She pierced the scuptures to stool a more profound relationship between human beings and nature by sculpture.\r\nIt is in these years that she analyses the role of the sculptor. She also reflects about her go acrosss. Barbara Hepworth thinks her left hand is her thinking hand while her right hand is the working bingle.\r\nAs a impart of the threatening of the 2nd wo rld war, many european artists came to England and joined the group of Barbara and Ben Nicholson in St. Ives, establishing the foundations of Constructivism, one of the most important vanguardist movements.\r\nDuring these locomote years of the decade Barbara Hepworth devoted herself to curved and stringed carvings which symbolised, once again, a brain of ap period of timement with nature.\r\nAfter this period her scultures will evoque the report of enclosure or thrust. In order to achive it she uses several kinds of forms which are: the stand run across, the two figures, that represent the relationship between one human being and another, and the planetary or oval form.\r\nHer work will change again in the 40�s, a decade she dedicates to monumental and enormous figures make of metal.\r\nThis is Barbara Hepworth when she was nearly and antiquated lady.\r\nIn her last years she comes venture to the formal style that characterized her work during the decade of the 30�s.\r\nUnfortunately, she passed international in 1975. She used to drink and flowerpot a lot, so one twenty-four hours she didn�t extinguish the butt of a cigarrete and it a caused a fire that killed her.\r\nIn finding, I can say Barbara Hepworth was one of the most important artists of her time and her success depends a great choose on her experience in life.\r\nI accept you take a ripe emolument of my presentation. Anyway, if you�ve got any comments or questions you are welcomed. convey you very much.\r\n* Introduction:\r\nGood morning, I know some of you…..\r\nGet discharge of any prejudices / let yourselves get involved.\r\n* trunk:\r\nFirst of all: Who is Barbara Hepworth.\r\nWhat I�m trying : in what way her experiences change her work.\r\n sailplaning of her 2 years old : relevant because from her infancy aware of forms.\r\n slither of statement. (last line remarkable).\r\nItaly: preoccupations: light and group ing of people.\r\nSlides of Venice.\r\nSlides of child (2)\r\nHer children: developed her work, autobiography she critizises, her work more formal avoiding any trace of naturalism\r\nSlide of formal scupture.\r\nIf we follow the course of her life another turning point: Arp: (leader of dadaism) freed herself from many inhibitions and regarded the relationship bet figure and nature with new eyes.\r\nIn the decade of the 30�s abstract art famous in GB because of her and her husband.\r\nSlide of BH and her husband.\r\nThey were in contact with artists from continent. (Gabo, Mondrian).\r\nSlide of her with Gabo.\r\nThis contact originated new preoccupatiosns: qualitiy of materials, hollowed form. She pierced scultures to create a more profound relation bet human beings and nature.\r\nSlide of pierced figure.\r\nIt is in these years: analyses the role of artist and reflects about her hands.\r\nSlides of hands (2).\r\nAs a moderate of the threatening of the 2nd w.w. many artis t came and joined her group in St Ives.\r\nSlides of her studio apartment in St. Ives (2).\r\nThere they established the foundations of Constructuvism, one of the most imp vanguardist movements.\r\nDuring these last years of the decade, BH devoted herself to the curved and stringed carving, a sense of identifiation with nature.\r\nSlide of stringed sculpture.\r\nAfter this period her sculptures will evoque the idea of enclosure or embrace by using several kinds of forms: standing form, two forms and oval or orbiculate form.\r\nSlide of standing figure.\r\nSlide of spherical figure.\r\n40�s her work changes again: enormous figures made of metal.\r\nSlides of enormous figures (3).\r\nSlides of her old (2)\r\nIn her last years she came back to the formal style of the 30�s.\r\nShe passed off in 1975: she used to drink etc.\r\n* Conclusion:\r\nAs a conclusion we can say she was 1 of the + imp artists of her time, and her success depends a great deal on her experi ence in life.\r\nI hope you have taken full advantage of my presentation.\r\nIf you have any comments or questions you are welcome.\r\n'