Barbara Hepworth

Jocelyn Barbara Hepworth was born on 10 January 1903 in Wakefield, West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth.[2] Her father was a civil engineer for the West Riding County Council, who in 1921 advanced to the role of County Surveyor.[2] Hepworth attended Wakefield Girls' High School, where she was awarded music prizes at the age of twelve [3][4] and won a scholarship to study at the Leeds School of Art from 1920. It was there that she met her fellow Yorkshireman, Henry Moore.[2] They became friends and established a friendly rivalry that lasted professionally for many years.

Despite attempting to gain a position in what was a male-dominated environment,[5] Hepworth successfully won a county scholarship to attend the Royal College of Art (RCA) in London, and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.[6]

Barbara Hepworth, Pierced Form, 1932 (pink alabaster, original destroyed ca. 1944)[7]

Following her studies at the RCA, Hepworth travelled to Florence, Italy, in 1924 on a West Riding Travel Scholarship.[1] Hepworth was also the runner-up for the Prix-de-Rome, which the sculptor John Skeaping won.[1] After travelling with him to Siena and Rome, Hepworth married Skeaping on 13 May 1925 in Florence.[2] In Italy, Hepworth learned how to carve marble from sculptor Giovanni Ardini.[2] Hepworth and Skeaping returned to London in 1926, where they exhibited their works together from their flat.[2] Their son Paul was born in London in 1929.[1]

Her early work was highly interested in abstraction and art movements on the continent. In 1931, Hepworth was the first to sculpt the pierced figures that are characteristic of both her own work and, later, that of Henry Moore.[8] They would lead in the path to modernism in sculpture. In 1933, Hepworth travelled with Ben Nicholson to France, where they visited the studios of Jean Arp, Pablo Picasso, and Constantin Brâncuşi.[2] Hepworth later became involved with the Paris-based art movement, Abstraction-Création.[9] In 1933, Hepworth co-founded the Unit One art movement with Nicholson and Paul Nash, the critic Herbert Read, and the architect Wells Coates.[10] The movement sought to unite Surrealism and abstraction in British art.[10]

Hepworth also helped raise awareness of continental artists amongst the British public. In 1937, she designed the layout for Circle: An International Survey of Constructivist Art, a 300-page book that surveyed Constructivist artists and that was published in London and edited by Nicholson, Naum Gabo, and Leslie Martin.[11]

Hepworth, via Nicholson, birthed triplets in 1934: Rachel, Sarah, and Simon. For a woman of this period, the practicalities of dealing with multiple babies were intense. Hepworth, atypically, found a way to both take care of her children and continue producing her art. "A woman artist," she argued, "is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate) – one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one's mind."[12] Hepworth married Nicholson on 17 November 1938 at Hampstead Register Office in north London, following his divorce from his wife Winifred.[13] Rachel and Simon also became artists.[14]

Hepworth, Nicholson and their children went to live in Cornwall at the outbreak of the Second World War in 1939.[15][16]

Hepworth lived in Trewyn Studios in St Ives from 1949 until her death in 1975.[15] She said that "Finding Trewyn Studio was sort of magic. Here was a studio, a yard, and garden where I could work in open air and space."[15] St Ives had become a refuge for many artists during the war. On 8 February 1949, Hepworth and Nicholson co-founded the Penwith Society of Arts at the Castle Inn; nineteen artists were founding members, including Peter Lanyon and Bernard Leach. [17]

Hepworth was also a skilled draughtsman. After her daughter Sarah was hospitalised in 1944, she struck up a close friendship with the surgeon Norman Capener.[18] At Capener's invitation, she was invited to view surgical procedures and, between 1947–1949, she produced nearly eighty drawings of operating rooms in chalk, ink, and pencil.[18][19] Hepworth was fascinated by the similarities between surgeons and artists, stating: "There is, it seems to me, a close affinity between the work and approach of both physicians and surgeons, and painters and sculptors."[18]

In 1950, works by Hepworth were exhibited in the British Pavilion at the XXV Venice Biennale[2] alongside works by Matthew Smith and John Constable.[20] The 1950 Biennale was the last time that contemporary British artists were exhibited alongside artists from the past.[20] Two early public commissions, Contrapunctal Forms and Turning Forms, were exhibited at the Festival of Britain in 1951.

During this period, Hepworth and Nicholson divorced (1951).[14] Hepworth moved away from working only in stone or wood and began to work with bronze and clay.[15] Hepworth often used her garden in St Ives, which she designed with her friend the composer Priaulx Rainier, to view her large-scale bronzes.[15]

Her eldest son, Paul, was killed on 13 February 1953 in a plane crash while serving with the Royal Air Force in Thailand.[21] A memorial to him, Madonna and Child, is in the parish church of St Ives.[22]

Exhausted, in part from her son's death, Hepworth travelled to Greece with her good friend Margaret Gardiner in August 1954.[21] They visited Athens, Delphi, and many of the Aegean Islands.[21]

When Hepworth returned to St Ives from Greece in August 1954, she found that Gardiner had sent her a large shipment of Nigerian guarea hardwood.[21] Although she received only a single tree trunk, Hepworth noted that the shipment from Nigeria to the Tilbury docks came in at 17 tons.[21] Between 1954–1956 Hepworth sculpted six pieces out of guarea wood, many of which were inspired by her trip to Greece, such as "Corinthos" (1954) and "Curved Form (Delphi)" (1955).[21]

It was also during this decade that Hepworth became preoccupied with the idea of establishing a market base for her work in the United States. Initially she hoped to follow Henry Moore's successful sale of artwork via Curt Valentin of Bucholz Gallery in New York. Negotiations with Valentin did result in a number of American sales. But despite the sales, and despite interventions by Hepworth's friends, Valentin rebuffed repeated requests to hold any substantial stock of her work. It was not until 1955, after the Martha Jackson Gallery had offered Hepworth the opportunity to exhibit in their space alongside works by William Scott and Francis Bacon, that Hepworth formalized gallery representation in the new world.[23]

Hepworth's difficulties in establishing a stable gallery relationship in the United States have been attributed to many factors, including the artist's own diffidence regarding personal promotion of her work. When Martha Jackson failed to arrange the solo American exhibition of sculptures and drawings that Hepworth demanded, Hepworth moved, in 1957, to Galerie Chalette, run by Arthur and Madeleine Lejwa, known for their close relationship with Jean Arp, and dedication to close relationships with their artists.[24] The Lejwas came through with the solo exhibition Hepworth craved.[25] Hepworth came to New York for the opening (her first visit to the city),[26], but made minimal contact with the press and left as soon as possible. "Have seen all the press," she wrote, "pulled faces at the camera and generally done my best!".[27] Three years later, having secured the Dag Hammarskjöld Memorial Commission (Single Form, 1964), she left both Chalette and Gimpel Fils, her long time home agent, for the larger Marlborough Fine Art and Marlborough-Gerson. "Pulled between personal loyalties and professional aspirations," Hepworth chose to forfeit the personal relationships.[28]

The artist greatly increased her studio space when she purchased the Palais de Danse, a cinema and dance studio, that was across the street from Trewyn in 1960. She used this new space to work on large-scale commissions.[29]

Hepworth also experimented with lithography in her late career. She produced two lithographic suites with the Curwen Gallery and its director Stanley Jones, one in 1969 and one in 1971.[30] The latter was entitled "The Aegean Suite" (1971) and was inspired by Hepworth's trip to Greece in 1954 with Margaret Gardiner.[31] The artist also produced a set of lithographs entitled "Opposing Forms" (1970) with Marlborough Fine Art in London.[31]

Barbara Hepworth died in an accidental fire at her Trewyn studios on 20 May 1975 at the age of 72.[32]

• Festing, Sally (15 May 1995). Barbara Hepworth: A Life of Forms (1st ed.). London ; New York, N.Y: Viking. ISBN 978-0-670-84303-9.

• Browse, Lilian; Gibson, Wiliam (1946). Barbara Hepworth Sculptress. Ariel Books on the Arts. London: Henval Press & Faber and Faber.
• Hepworth, Barbara (1952). Barbara Hepworth: Carvings and Drawings (1st ed.). Lund Humphries.
• Hepworth, Barbara (1954). Barbara Hepworth: Carvings and Drawings. Whitechappel Art Gallery.
• Hodin, Jean P. (1961). Barbara Hepworth (1st ed.). Lund Humphries.
• Shepherd, Michael (1963). Barbara Hepworth. Art in Progrees (1st ed.). Methuen.
• Bowness, Alan (1966). Barbara Hepworth: drawings from a sculptor's landscape. Praeger.
• Hepworth, Barbara (1982). Barbara Hepworth carvings, July–August 1982. Marlborough Fine Art.
• Hammacher, A. M. (14 September 1987). Barbara Hepworth. World of Art (2 ed.). New York: Thames and Hudson Ltd. ISBN 978-0-500-20218-0.
• Thistlewood, David (1 April 1996). Barbara Hepworth Reconsidered. Liverpool: Liverpool University Press. ISBN 978-0-85323-770-9.
• Curtis, Penelope (1 April 1998). St. Ives Artists: Barbara Hepworth. St Ives Artists series. Tate. ISBN 978-1-85437-225-3.
• Gale, Matthew; Stephens, Chris (1 January 2001). Barbara Hepworth: Works in the Tate Collection and the Barbara Hepworth Museum St Ives: Works in the Tate Gallery Collection and the Barbara Hepworth Museum St Ives (New ed.). Tate Publishing. ISBN 978-1-85437-347-2.
• Phillips, Miranda; Stephens, Chris (1 January 2002). The Barbara Hepworth Sculpture Garden (First ed.). London; New York: Tate Publishing. ISBN 978-1-85437-412-7.
• Bowness, Sophie (14 May 2003). Barbara Hepworth and the Yorkshire Landscape: An Anthology of Her Writings and Recollections. Yorkshire Sculpture Park. ISBN 978-1-871480-43-6.
• Hepburn, Nathaniel (27 October 2012). Barbara Hepworth: The Hospital Drawings. New York, NY: Tate Publishing. ISBN 978-1-84976-165-9.
• Bowness, Sophie; Chipperfield, David; Guy, Frances; Heuman, Jackie; Jackson, Tessa; Wallis, Simon; Watson, Gordon (28 May 2015). Barbara Hepworth: The Plasters (New ed.). Farnham, Surrey ; Burlington, VT : Wakefield, West Yorkshire: Lund Humphries. ISBN 978-1-84822-085-0.
• Wilkinson, Alan (1 June 2015). The Drawings of Barbara Hepworth (New ed.). Farnham Surrey, UK ; Burlington, VT: Lund Humphries. ISBN 978-1-84822-164-2.

• Hepworth, Barbara (1954). Barbara Hepworth: Retrospective Exhibition 1927–1954. London: Whitechapel Art Gallery.
• Alley, Ronald; Reid, Norman; Oxenaar, R.W; Gray, Nicolette (1968). Barbara Hepworth. Tate Gallery.

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