BARBARA HEPWORTH was born into a sepia world before feminism was invented. As a would-be artist, she faced far greater hurdles than her male coevals and especially the sculptor Henry Moore, with whom she was compared throughout her life. However, she held on to her ambition, explaining herself in essays, manifestos and a propagandising A Pictorial Autobiography, which laid down boundaries for what future audiences could know or write about her. In middle age, she emerged into the limelight as an awkward pioneer in the history of modern art, whose signature pierced forms and expressive, dynamic public sculptures had found a new, global audience.
All this was achieved at some personal cost and by ferocious determination and control, both in her lifetime and posthumously. The measures that Hepworth took ensured that her concrete achievements remained to the fore; the familial and emotional were embargoed, together with her personal papers. She knew that to be judged as a woman on the counterweight of her private life would have provoked harsh criticism then.
After her death in 1975, control ceded to her family, particularly her late son-in-law, the curator and art historian Sir Alan Bowness, who has gradually drawn her from under Moore’s long shadow. Deftly machinating for the founding of Tate St Ives and entrusting Tate with Hepworth’s house-museum there, Bowness confirmed Hepworth’s icon status in the 1990s by endowing the HepworthWakefield in her home town with her prototypes for sculpture in plasters that still bear the textured marks of her hand tools.
Denne historien er fra July 28, 2021-utgaven av Country Life UK.
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Denne historien er fra July 28, 2021-utgaven av Country Life UK.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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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
