- 25
Reg Butler
Description
- Reg Butler
- Girl on a Round Base
- stamped with initials, numbered 2/8 and stamped with foundry mark
- bronze, in two parts
- overall: 112 by 129.5 by 129.5cm.; 44 by 51 by 51in.
- Conceived in 1964, the present work is number 2 from the edition of 8.
Provenance
Exhibited
Literature
Condition
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Catalogue Note
Girl on a Round Base was initially submitted as the maquette for a 9ft sculpture to stand outside the National Recreation Centre being built in the early 1960s at Crystal Palace, London. Although the final commission was withdrawn, the sculpture synthesized many of Butler’s concerns at the time. The figure stands upright almost pivoting on one foot whilst her face is calm and resolute, far removed from the torment of Butler’s early 1950s sculptures such as The Oracle (1952) and Circe Head (1952-53). Nonetheless, there is a cool detachment to the girl, armless, and balanced atop a large imposing circle of bronze which undoubtedly encourages a dislocated, Existentialist, standpoint. Butler explained this to Pierre Matisse: ‘to me the so-called base.. is a very important part of the total sculpture – it isn’t merely a base but I’m sure does things to the meaning of the whole thing’ (letter to Pierre Matisse, November 1966, quoted in Pierre Matisse and his Artists, exh.cat., The Pierpoint Morgan Library, New York, 2002, p.128).
Butler’s interest in the writings of Sigmund Freud and Melanie Klein suggests that the dichotomy between the opposing forces of sensuality and brutality in Butler’s representation of female forms noted by John Berger in 1954 would seem to have some grounds. Artistically, comparisons can be drawn with the surrealist treatment of the female figure by artists greatly admired by Butler, such as Hans Bellmer. Perhaps more revealing are connections with two artists of Butler’s own generation, Francis Bacon and Germaine Richier, both of whose work seeks to explore the boundaries at which the human form loses its human qualities. Indeed all three exhibited with the Hanover Gallery in London.
Pierre Matisse was quick to sign Reg Butler into his stable of artists after the Curt Valentin Gallery closed in 1955, although Matisse struggled to develop a close working relationship with Erica Brausen who represented Butler in London at the Hanover Gallery. In March 1956 he included Butler in an exhibition alongside prestigious and established names such as Le Corbusier, Giacometti, Marino Marini and Joan Miro (among others), but it was not until February 1959 that he was able to stage a solo exhibition. It was not only Butler’s idiosyncratic approach to form which fascinated Matisse and ensured him a place in his prestigious gallery but also the sensuality of his figures which sat very well alongside those of Balthus and Maillol, who were regular features at the gallery.