Henri Gaudier-Brzeska

Am reading a book on HG-B by Evelyn Silver and David Finn and came across this sketch that he sent to Edward Wadsworth (he of the ‘Dazzle Ship’ design) from the front line at the end of 1914. 


Titled ‘One of our shells exploding’, he has captured the ferocity of the blast and the beautiful, yet catastrophic patterns the explosion would create. 

Hepworth Wakefield Highlights

Here’s what cheered me up no end at the Hepworth:

First the building and the surrounding views:

PANO #1

Three David Hockneys – all created on an iPad!

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This fantastic Peter Brook – can’t beat a bit of Northern industrial landscapes!

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Peter Brook -Warehouses, Wakefield

A moody Atkinson Grimshaw

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Miro 🙂

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My house…I wish!

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Some languid Henry Moores

More Barbara Hepworths than you can shake a stick at!

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The one I wanted to take home:

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and the piece I did: Henri Gaudier-Brzeska’s Dog:

FB_IMG_1466955983507 Not really!!  Gift shop purchase 🙂

But there were these HGBs which were quite thrilling:

First visit to Wakefield and it was a lovely place to visit – staff were really friendly and the cake comes highly recommended!!

My 100th Post: The 1910 Room at The Tate

To celebrate my 100th post, I thought a quick look at my favourite art period was called for. These two photographs epitomise what it is I love about the 1910 room at The Tate. I hadn’t considered the way in which the pieces are placed together before so decided to photograph the statues alongside the paintings yesterday.

The Arrival -CRW Nevinson

Workshop -Percy Wyndham Lewis

Singer -Henri Gaudier-Brzeska

Nevinson and Wyndham Lewis are in parallel here with their vorticist style. Together, they are a powerful example of how the movement sought to eliminate the notion of decorative art and instead, to depict modern life through a form of abstraction.

From The Tate:

This work, typical of Nevinson’s Futurist period, aroused much comment when it was exhibited in 1915 as ‘My Arrival in Dunkirk’ (that it was this work is confirmed by the contemporary reproductions in the Daily Express, 25 February 1915, and the Daily Graphic, 5 March 1915). It was probably the work already exhibited as ‘The Arrival’ the year before, when a review in the Star said of it: ‘It resembles a Channel steamer after a violent collision with a pier. You detect funnels, smoke, gangplanks, distant hotels, numbers, posters all thrown into the melting-pot, so to speak. Mr Nevinson acted as interpreter, explaining that it represented a “state of simultaneous mind”.’

Lewis’s painting Workshop epitomises Vorticism’s aims, using sharp angles and shifting diagonals to suggest the geometry of modern buildings. Its harsh colours and lines echo the discordant vitality of the modern city in an ‘attack on traditional harmony’. The group’s aggressive rhetoric, angular style and focus on the energy of modern life linked it to Italian Futurism, though it did not share the latter’s emphasis on speed and dynamism.”

Dancer -Henri Gaudier-Brzeska

La Miltrallieuse -CRW Nevinson

I love the sensuous fluidity of Gaudier’s dancer. It was influenced by theories of creative energy and of the world in a state of constant flux, proposed by the philosopher Henri Bergson. This is in stark contrast to the dark palette, sharp angles and fixed expressions and rigidity of the men who are in tune with their machines in Nevinson’s work.

 

 

 

 

Henri Gaudier-Brzeska

On a wet day in Leeds I had a small encounter with Henri Gaudier-Brzeska, the young artist-sculptor whose prodigious talent was cut short by WWI.

This exhibition, at Harewood House, is a cut-down version of the one from Kettle's Yard in Cambridge that I missed earlier in the year.

The key pieces of sculpture were The Dancer, The Firebird and Red Stone Dancer. According to Chris Stevens at The Tate, the Hieretic Head of Ezra Pound is considered to his greatest work, but having these three pieces on the same room, may dispute that claim. They were quite beautiful to view, even under glass. The Firebird, in particular, was quite beautiful, showing the moment that the Prince has captured the Firebird who is about to beg for her life.
The Redstone Dancer is a complete contrast in that Gaudier-Brzeska has been influenced by cubism and primativism and has reduced the features to shapes.mHowever therecis a sensuous feel to the curves of this piece and it is easy to see why he became such an influence to sculptors such as Hepworth and Moore.