MICHAEL SANDLE is a great man and a great artist with a conscience-stricken sense of outrage at the futility of violence, which gives an extra edge to his imaginative genius. The word 'genius' does not exactly spring to mind when viewing some of the recent trivialisations of sculpture in England, but, in Prof Sandle's case, I am deploying it with precision and from solid.
comparative evidence... '[his] drawings are among the most beautiful and haunting of the 20th century and have to be considered on equal terms with the sculpture' This tribute to the monumental sculptor could not be more authoritative. Bryan Robertson (1925-2002), as post-war director of the Whitechapel Art Gallery, was the most artistically influential British curator of his time. This emerges clearly from a new book to which I have contributed the foreword, Michael Sandle: Works on Paper. It was published ahead of the artist's 88th birthday on May 18-through the initiative of writer and curator Jon Wood, formerly of the Henry Moore Institute, and with support from the Isle of Man Arts Council-and comes 22 years after my own The Sculpture of Michael Sandle. Mr Wood devotes the book, adeptly designed by Peter McGrath, to 250 drawings, watercolours and prints, with explanatory captions by the sculptor.
At the outset of his career, Prof Sandle vowed to try to make at least one monumental masterpiece every decade. Described by art historian Marco Livingstone as a 'radical traditionalist', he has fulfilled his ambition, despite the efforts of commissioning committees a task he has called 'like climbing Everest on a pogo stick'. He is famed abroad to an exceptional extent for an English artist and has spent a fair part of his career overseas, especially in Germany,
Diese Geschichte stammt aus der May 08, 2024-Ausgabe von Country Life UK.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der May 08, 2024-Ausgabe von Country Life UK.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
Kitchen garden cook - Apples
'Sweet and crisp, apples are the epitome of autumn flavour'
The original Mr Rochester
Three classic houses in North Yorkshire have come to the market; the owner of one inspired Charlotte Brontë to write Jane Eyre
Get it write
Desks, once akin to instruments of torture for scribes, have become cherished repositories of memories and secrets. Matthew Dennison charts their evolution
'Sloes hath ben my food'
A possible paint for the Picts and a definite culprit in tea fraud, the cheek-suckingly sour sloe's spiritual home is indisputably in gin, says John Wright
Souvenirs of greatness
FOR many years, some large boxes have been stored and forgotten in the dark recesses of the garage. Unpacked last week, the contents turned out to be pots: some, perhaps, nearing a century old—dense terracotta, of interesting provenance.
Plants for plants' sake
The garden at Hergest Croft, Herefordshire The home of Edward Banks The Banks family is synonymous with an extraordinary collection of trees and shrubs, many of which are presents from distinguished friends, garnered over two centuries. Be prepared to be amazed, says Charles Quest-Ritson
Capturing the castle
Seventy years after Christian Dior’s last fashion show in Scotland, the brand returned under creative director Maria Grazia Chiuri for a celebratory event honouring local craftsmanship, the beauty of the land and the Auld Alliance, explains Kim Parker
Nature's own cathedral
Our tallest native tree 'most lovely of all', the stately beech creates a shaded environment that few plants can survive. John Lewis-Stempel ventures into the enchanted woods
All that money could buy
A new book explores the lost riches of London's grand houses. Its author, Steven Brindle, looks at the residences of plutocrats built by the nouveaux riches of the late-Victorian and Edwardian ages
In with the old
Diamonds are meant to sparkle in candlelight, but many now gather dust in jewellery boxes. To wear them today, we may need to reimagine them, as Hetty Lintell discovers with her grandmother's jewellery