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Dame Barbara Hepworth
Hepworth in 1966
Born	Jocelyn Barbara Hepworth 10 January 1903 Wakefield, West Riding of Yorkshire
Died	20 May 1975(1975-05-20) (aged 72) St Ives, Cornwall
Nationality	British
Education	Leeds School of Art, Royal College of Art
Known for	Sculpture
Movement	Modernism, Abstract art
Awards	DBE
Website	www.barbarahepworth.org.uk

Dame Jocelyn Barbara Hepworth DBE (10 January 1903 – 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. She was one of the few female artists of her generation to achieve international prominence.^[1] Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the Second World War.

Early life

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 became County Surveyor.^[2] Hepworth attended Wakefield Girls' High School, where she was awarded music prizes at the age of twelve as noted by Sophie Bowness in "Rhythm of the Stones: Barbara Hepworth and Music"^[3][4] and won a scholarship to and studied at the Leeds School of Art from 1920. It was there that she met her fellow student, Henry Moore.^[2] They became friends and established a friendly rivalry that lasted professionally for many years. Hepworth was the first to sculpt the pierced figures that are characteristic of works by both. They would lead in the path to modernism in sculpture.

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]

Early career

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 the master 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 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.^[7] In 1933, Hepworth co-founded the Unit One art movement with Nicholson and Paul Nash, the critic Herbert Read, and the architect Wells Coates.^[8] The movement sought to unite Surrealism and abstraction in British art.^[8]

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.^[9]

Hepworth married Nicholson on 17 November 1938 at Hampstead Register Office in north London, following his divorce from his wife Winifred.^[10] The couple had triplets in 1934, Rachel, Sarah, and Simon. Rachel and Simon also became artists. The couple divorced in 1951.^[11]

St Ives

Hepworth, Nicholson and their children went to live in Cornwall at the outbreak of the Second World War in 1939.^[12]

Hepworth lived in Trewyn Studios in St Ives from 1949 until her death in 1975.^[12] 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."^[12] 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.
^[13]

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.^[14] 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.^[14][15] 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."^[14]

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.^[16] The 1950 Biennale was the last time that contemporary British artists were exhibited alongside artists from the past.^[16] Two early public commissions, Contrapunctal Forms and Turning Forms, were exhibited at the Festival of Britain in 1951.

During this period, Hepworth moved away from working only in stone or wood and began to work with bronze and clay.^[12] Hepworth often used her garden in St Ives, which she designed with her friend the composer Priaulx Rainier, to view her large-scale bronzes.^[12]

Death of son Paul

Her eldest son, Paul, was killed on 13 February 1953 in a plane crash while serving with the Royal Air Force in Thailand.^[17] A memorial to him, Madonna and Child, is in the parish church of St Ives.^[18]

Exhausted, in part from her son's death, Hepworth travelled to Greece with her good friend Margaret Gardiner in August 1954.^[17] They visited Athens, Delphi, and many of the Aegean Islands.^[17]

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.^[17] Although she received only a single tree trunk, Hepworth noted that the shipment from Nigeria to the Tilbury docks came in at 17 tons.^[17] 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).^[17]

Late career

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.^[19]

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.^[20] The latter was entitled "The Aegean Suite" (1971) and was inspired by Hepworth's trip to Greece in 1954 with Margaret Gardiner.^[21] The artist also produced a set of lithographs entitled "Opposing Forms" (1970) with Marlborough Fine Art in London.^[21]

Barbara Hepworth died in an accidental fire at her Trewyn studios on 20 May 1975 at the age of 72.^[22]

Galleries and locations exhibiting her work

Two museums are named after Hepworth and have significant collections of her work: the Barbara Hepworth Museum in St Ives, Cornwall and The Hepworth Wakefield in West Yorkshire.^[23][24]

Her work also may be seen at:

• The University of Liverpool^[25]
  


• The University of Birmingham,^[26]
  


• The University of Southampton, Highfield Campus
  


• 
  St Catherine's College, Oxford,^[27]
  


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  Cardiff University School of Music,^[28]
  


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  Yorkshire Sculpture Park in West Bretton, West Yorkshire


• 
  Clare College, Cambridge,^[29]
  


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  Churchill College, Cambridge^[30]
  


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  Murray Edwards College, Cambridge^[31]
  


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  Snape Maltings, Snape, Suffolk


• On the facade of the John Lewis department store, Oxford Street, London^[32]
  


• 
  The Mander Centre, Wolverhampton (removed 2014)


• 
  Mary and Leigh Block Museum of Art Sculpture Garden at Northwestern University
  


• 
  Kenwood House, London


• Outside the Norwich Playhouse^[33]
  


• On the grounds of Winchester Cathedral next to The Pilgrims' School^[34]
  


• 
  Leeds Art Gallery^[35]
  


• 
  Tate Gallery, London^[36]
  


• 
  Kröller-Müller Museum, Otterlo, Netherlands


• The Pier Arts Centre, Stromness, Orkney^[37]
  


• 
  Museum of New Zealand Te Papa Tongarewa in Wellington, New Zealand


• 
  Lynden Sculpture Garden, Milwaukee, Wisconsin^[38]
  

Commissions

In 1951 Hepworth was commissioned by the Arts Council to create a piece for the Festival of Britain.^[39] The resulting work featured two Irish limestone figures entitled, "Contrapuntal Forms" (1950), which was displayed on London's South Bank.^[39] To complete the large-scale piece Hepworth hired her first assistants, Terry Frost, Denis Mitchell, and John Wells.^[39]

From 1949 onwards she worked with assistants, sixteen in all.^[40] One of her most prestigious works is Single Form,^[41] which was made in memory of her friend and collector of her works, the former Secretary General Dag Hammarskjöld, and which stands in the plaza of the United Nations building in New York City.^[42] It was commissioned by Jacob Blaustein, a former United States delegate to the U.N., in 1961 following Hammarskjöld's death in a plane crash.^[43]

Controversy

On 20 December 2011, her 1969 sculpture Two Forms was stolen, from its plinth in Dulwich Park, South London. Suspicions are that the theft was by scrap metal thieves. The piece, which had been in the park since 1970, was insured for £500,000, a spokesman for Southwark Council said.^[44]

One of the edition of six of her 1964 bronze sculpture, Rock Form (Porthcurno), was removed from the Mander Centre in Wolverhampton in the spring of 2014 by its owners, the Royal Bank of Scotland and Dalancey Estates. Its sudden disappearance led to questions in Parliament in September 2014. Paul Uppal, Member of Parliament for Wolverhampton South West said: "When the Rock Form was donated by the Mander family, it was done so in the belief it would be enjoyed and cherished by the people of Wolverhampton for generations... It belongs to, and should be enjoyed by, the City of Wolverhampton." The sculpture has since been loaned to the city by RBS and can be seen in Wolverhampton City Art Gallery.

Recognition

Hepworth was awarded the Grand Prix at the 1959 São Paulo Bienal.^[1] She also was awarded the Freedom of St Ives award in 1968 as an acknowledgment of her significant contributions to the town.^[1] She was awarded honorary degrees from Birmingham (1960), Leeds (1961), Exeter (1966), Oxford (1968), London (1970), and Manchester (1971).^[10] She was appointed CBE in 1958 and DBE in 1965.^[10][45] In 1973 she was elected an honorary member of the American Academy of Arts and Letters.^[46]

Following her death, her studio and home in St Ives became the Barbara Hepworth Museum, which came under control of the Tate in 1980.^[1]

In 2011, The Hepworth Wakefield opened in Hepworth's hometown of Wakefield, England. The Museum was designed by the famed architect David Chipperfield.^[47]

In January 2015 it was announced that Tate Britain was to stage the first big London show of Hepworth's work since 1968. It would bring together more than 70 of her works, including the major abstract carvings and bronzes for which she is best known. It would also include unseen photographs from the Hepworth archive, held by the Tate, including a self-photogram created in the 1930s and experimental photographic collages.^[48]

Gallery

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  Monolith-Empyrean, 1953.
  

  
  

  
  


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  Figure for Landscape, 1960, Hirschhorn Museum, Washington, D.C.
  

  
  

  
  


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  Winged Figure, 1963, on the side of the John Lewis department store, Holles Street and Oxford Street, London.
  

  
  

  
  


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  Sphere with Inner Form, 1963, at the Kröller-Müller Museum, Otterlo, the Netherlands.
  

  
  

  
  


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  Achaean, c. 1963, at St Catherine's College, Oxford.
  

  
  

  
  


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  Dual Form at St Ives Guildhall.
  

  
  

  
  


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  Single Form (Memorial) at Battersea Park, London.
  

  
  

  
  


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  Rock Form (Porthcurno), 1964, Franklin Parkway, Philadelphia, Pennsylvania.
  

  
  

  
  


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  Construction (Crucifixion): Homage to Mondrian, 1966, outside Winchester Cathedral.
  

  
  

  
  


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  Two Forms, 1969, St Ives.
  

  
  

  
  


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  Four-Square (Walk Through), 1966, Churchill College, Cambridge.
  

  
  

  
  


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  Corinthos (sculpted in guarea wood), 1954–5, at Tate Liverpool.^[49]

  
  

  
  

List of selected works

Marble portrait heads dating from London, ca. 1927, of Barbara Hepworth by John Skeaping, and of Skeaping by Hepworth, are documented by photograph in the Skeaping Retrospective catalogue,^[50] but are both believed to be lost.

References

Further reading

• 
  Penelope Curtis, Barbara Hepworth. Tate Publishing,
  ISBN 1-85437-225-4.


• Barbara Hepworth, Hepworth, Barbara: A Pictorial Autobiography. Tate Publishing,
  ISBN 1-85437-149-5.

Biographies

• 
  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.
  

Monographs

• 
  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.
  


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  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.
  


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  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.
  

Exhibition catalogues

• 
  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.
  

Wikimedia Commons has media related to Barbara Hepworth.

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External links

• Official website


• Barbara Hepworth in the Tate Collection


• 
  "Archival material relating to Barbara Hepworth". UK National Archives.
  
  


• Barbara Hepworth's Sculpture Records, 1925–1975