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Chadwick - Edward Lucie-Smith

This is the first full-length study covering the whole of Chadwick's career. In a penetrating and sympathetic text, Edward Lucie-Smith demonstrates that Chadwick is a much more various and surprising artist than historians of the postwar period have sometimes assumed. Despite the fact that he has preferred to live in isolation in the country, and has travelled comparatively little since his war-time service as a pilot in the Fleet Air Arm, Chadwick has often been among the first to react to new currents of sculptural development, and has always done so in a characteristically personal way. One unexpected episode in this book is the story of his friendship with the leading American sculptor David Smith, and their mutual influence on one another. Chadwick has, by deliberate choice, made very few 'public' sculptures, although he has quite often worked on a substantial scale. His later work, currently almost absent from accounts of late twentieth-century sculpture, has dramatic and narrative qualities which can be found nowhere else. He has a unique ability to enlarge and vary a group of central themes, and a highly personal technique, based to some extent on his youthful experience in an architect's office. This has affected both the way his sculptures are constructed - often in ways suggested by the architectural space-frame - and his actual feeling for space. These and other pertinent issues are discussed in this groundbreaking book, which fully illustrates the whole range of Chadwick's achievement.
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Emne Skulptur
Kunstner Lynn Chadwick
Forfatter Edward Lucie-Smith
Sprog Engelsk
Illustrationer 138 ill, heraf 59 i farver
Format / Sideantal 24 x 29 cm. / 175 s.
Udgivelsesår 1997
Indbinding Indbundet
Forlag Lypiatt Studio
Antikvarisk
Antal
Køb
ISBN 9780953175918
Lev. 14 dage
This is the first full-length study covering the whole of Chadwick's career. In a penetrating and sympathetic text, Edward Lucie-Smith demonstrates that Chadwick is a much more various and surprising artist than historians of the postwar period have sometimes assumed. Despite the fact that he has preferred to live in isolation in the country, and has travelled comparatively little since his war-time service as a pilot in the Fleet Air Arm, Chadwick has often been among the first to react to new currents of sculptural development, and has always done so in a characteristically personal way. One unexpected episode in this book is the story of his friendship with the leading American sculptor David Smith, and their mutual influence on one another. Chadwick has, by deliberate choice, made very few 'public' sculptures, although he has quite often worked on a substantial scale. His later work, currently almost absent from accounts of late twentieth-century sculpture, has dramatic and narrative qualities which can be found nowhere else. He has a unique ability to enlarge and vary a group of central themes, and a highly personal technique, based to some extent on his youthful experience in an architect's office. This has affected both the way his sculptures are constructed - often in ways suggested by the architectural space-frame - and his actual feeling for space. These and other pertinent issues are discussed in this groundbreaking book, which fully illustrates the whole range of Chadwick's achievement.