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Lynn Chadwick
1914-2003年
HIGH WIND III
Inscribed C115 and numbered 2/9 
Bronze
Height: 78 in.
199 cm
Conceived and cast in an edition of 9 in 1990.
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Eva Chadwick has kindly confirmed that this cast is recorded in the artist’s archives.

來源

Elaine Baker Gallery, Boca Raton
Barry & Carol Kaye, Boca Raton
Scott White Contemporary Art, La Jolla
Acquired from the above

出版

Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue, 1947-1996, Oxford, 1990, no. C115, illustration of another cast p. 409
Chadwick (exhibition catalogue), Leichtenstein, Galerie am Lindenplatz, 1991, illustration of another cast n.p.
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, Oxford, 1997, no. C115, illustration of another cast p. 417 
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Aldershot, 2006, no. C115, illustration of another cast p. 416
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Surrey, 2014, no. C115, illustration of another cast pp. 31 & 407

相關資料

The concept of capturing motion fascinated Chadwick throughout his career. As the years progressed his walking sculptures became more vigorous: the wing-like forms previously stationed at the figures’ sides became flowing sleeves, capes or full-length cloaks. The cloaks billowed behind the figures as they faced a strong headwind, enhancing the dynamism of their motion. As Herbert Read notes, “Chadwick is preoccupied with states of attention or alertness in the human figure or the animal. His aim is to incorporate a moment of maximum intensity, and this he does by the most direct means—the reduction of bodily attitudes to their magnetic lines of force” (quoted in Judith Collins, Lynn Chadwick: The Collection at Lypiatt Park, New York, 2006, p. 22).

Chadwick used his understanding of contradictory lines and shapes to create brilliant dynamism in an inherently stagnant moment. In the present work the artist heightens the tension and difficulty of movement by contrasting the amorphous billowing of the figure's hair with the linearity of the her skirts; the soft outline of the figure’s limbs counterbalanced by the dramatic blowing of her adornments. 

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