"Maquette VI Sitting Woman"
Stamped C38, numbered 9/9 and dated 1986. Bronze, black patina height 14 cm.
Provenance
Fabian Carlsson Gallery, London, acquired in the late 1980s.
Literature
Dennis Farr & Eva Chadwick, "Lynn Chadwick Sculpture: With a Complete Illustrated Catalogue 1947-2003", 2014, cat. no. C38, another example illustrated in black and white p. 364.
More information
Lynn Chadwick's characteristic figures are instantly recognisable. They possess a unique appeal, and their distinct formal language resembles none other. Majestic strangers, enigmatic, hardly resting – rather vigilant. With their geometrically simplified forms and angularly draped cloaks, they evoke associations and fascination.
Chadwick debuted on the British art scene shortly after the Second World War, alongside a new generation of artists. Europe lay in ruins, the world was in shock after witnessing the horrors of war, genocide, and the effects of the atomic bomb. Chadwick himself served during the war as a pilot in the R.A.F. He had already as a young man harboured a desire to dedicate his life to art. His parents' disapproval led him to compromise on his career path, and he therefore trained in architecture. Before the war, he worked as a draughtsman in an architectural firm. Chadwick had no formal artistic training, and one might discern the strict geometry of architectural drawing in his artistic practice. After the war, he was filled with a longing to create, to achieve something new.
However, it took time before he dared to fully embrace the step of becoming an artist, so he worked for several years successfully as a designer and interior architect. During the late 1940s, Chadwick supported himself by designing, among other things, display stands, furniture, and wallpaper patterns while also working on his art.
It was through the Venice Biennales in 1952 and 1956 that Chadwick gained his international breakthrough, and he has since been regarded as one of the most important artistic voices in British post-war art. The expression in Lynn Chadwick's sculptures is closely linked to his working methods. Essentially self-taught, he invented his own technique. The method has been described as a three-dimensional drawing with metal rods, where Chadwick first bent and shaped the rods into the desired form, which were then welded together. He then filled the parts that were to be solid. For certain sculptures, he used metal plates, which gave the impression of "metal skin." It was not until the late 1950s that he began to cast in bronze. Chadwick placed great importance on the patination of his sculptures and worked extensively with the surface's texture and colour nuances.
The triangle in various forms is the fundamental geometric shape in Chadwick's art, sometimes assembled into rectangles. This shape, positioned vertically or diagonally, rarely horizontally, forms the backbone of the sculptures and creates formal tension. The artist himself believed that the triangle could be seen as the simplest draft of a human or animal figure, and from this form, the body was created. He emphasised that he always started from the human figure in his art.
More about Lynn Chadwick
One immediately recognises Lynn Chadwick’s distinctive figures. They have their own visual language, with their formal language resembling no other. These majestic beings appear enigmatic, hardly at rest – rather vigilant. With figures which draw upon simplified geometric forms with sharply draped cloaks, these sculptures evoke associations and fascination.
Chadwick joined a new generation of artists which all debuted on the British art scene shortly after the World War. Europe was in ruin, and the world was arrested in great shock after having experienced the trials and tribulations of war. Chadwick himself was an active participant, having worked as a pilot in R.A.F. Already in his younger years Chadwick was sure that he wanted to direct his career into the world of art, yet his parents disapproved, and thus he was forced to compromise and thus began to study architecture. This is why Chadwick found himself working at an architectural firm before the onset of the war. It can therefore be argued that it is thanks to his architectural training that his sculptures exhibit such a strong geometrical aura. The aftermath of the war left Chadwich longing to create and to achieve something new. Yet it took a while for him to find the courage to fully commit, and thus he continued to have a successful career as a interior designer. In the 1940s Chadwich made a living by designing exhibition stands, furniture, wallpaper simultaneously as he began his career as an artist.
It was thanks to the Venice Biennale of 1952 and 1956 that Chadwick gained international recognition and has since then been thought to be one of the most important artists within the British post-war era. The expression in Lynn Chadwick's sculptures is deeply linked to his methods. For the most part Chadwick is solely self-taught, with his technique having been described as a three-dimensional metal drawing. Chadwick would bend and shape of rods into desired forms, then weld them together, after which he filled in the areas that were to be solid. For various sculptures he utilised metal plates, giving the impression of a “metal skin”. In the 1950s Chadwick began experimenting with bronze. Chadwick placed great emphasis on the patination of his sculptures, meticulously working on surface texture and color nuances.
The triangle is the overarching form in Chadwick’s art, which is sometimes combined with the rectangle. This form, often placed vertically or diagonally (never horizontally), forms the backbone of the sculpture and establishes the formal tension. The artist himself has declared that the triangle is the most stripped-down, basic form of the human body, and it is from this shape people are constructed. He had always clearly expressed how his primary inspiration lay always with the human form.
In contrast to many of his contemporaries who were inspired by ethnographic or classical art, Chadwick found inspiration from modern architecture. The artist never explained the symbolism or meaning behind his sculptures, rather he has left his blank to allow the viewer to form their own interpretations as to the reasonings behind these powerful, enigmatic figures.
For condition report contact specialist
What will the transport cost?
Shipping can only be arranged by contacting specialdelivery@bukowskis.com.
Covered by droit de suite
Image rights
The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.
