Sir Anthony Caro

Annely Juda Fine Art, London whence acquired by the present owner

Annely Juda Fine Art, London, The Barbarians, Europa and the Bull and Paper Book Sculptures, 6th March-17th April 2003, illustrated in Europa and the Bull and Paper Book Sculptures Catalogue, on cover and inside invitation card.

Dirt has gathered in some of the crevices but the sculpture is in good overall condition. Please telephone the department on 020 7293 5381 if you have any questions regarding the present work
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Europa and the Bull was executed between 2000 and 2002, and was exhibited in 2003 alongside another of Caro's major works from the same period of creativity, The Barbarians. Both works take well-known narratives, be it mythological or historical, as their subject matter, and it is illuminating to consider the opportunities that such subject matter could provide for a sculptor who is so often thought of as a creator of abstract forms devoid of narrative. Caro's thoughts on The Barbarians provide some insight into his choice of subject. 'Through the ages, civilisations have often been subject to unexpected assaults from warrior tribes. This happened when the Tartars overran Asia and the Huns and the Goths plundered Rome. My Barbarians allude to this history'. (http://www.miandn.com/#/exhibitions/2002_11_madison_anthony_caro/)

Caro's words convey how thoroughly interested he is in the details of these ancient narratives, and yet his final remark determines that the sculptures are fuelled, but not restricted by, the breadth of these narratives, alluding rather than depicting. And so with Europa and the Bull, Caro is seen to 'allude' to mythology in his presentation of the Greek myth, in which Europa is abducted by Zeus who has taken the form of a bull. Although the sculpture clearly depicts a figure astride a bull, Caro avoids the restrictions of any fixed narrative, the only clear gesture being in Europa's raised arms, which certainly convey emotion, whether that be fear or wild abandon.

The bodies of Europa and the bull have been assembled from different materials and the resulting appearance, whilst dramatically deviating from any traditional mythological imagery in which one might expect narrative and symbolism, conveys the masculinity of the bull versus Europa's female figure. The bull is static, his legs thin but standing rigid with strength, his expressionless head almost hooded in shadow by his huge torso. The steel drum is contorted and compressed, suggesting potential movement and action, and alluding to the ribcage and angles of the bull's body. The metal sheet the bull stands upon even functions as a kind of stage. In contrast, the moulded clay of Europa's body rises to expressive arm gesture. She has no facial features but her feminine curves are presented in the clay's form. The different materials present a confrontation of man versus woman, human versus animal, but the comparative industrial colouring of the materials, and their assembled nature unify their appearance. The story of Europa and the Bull is steeped in mythological narrative and symbolism, and Caro's Europa, and Caro's Bull, draw on this mythological richness whilst appearing evidently new and abstracted.