British Sculpture of the Fifties

This chapter demonstrates that the London County Council’s earliest ‘open-air’ exhibitions of sculpture in London’s Battersea Park in 1948 and 1951 established an influential model for the post-war display of modern sculpture in temporary parkland exhibitions and permanent rural sculpture parks. It argues that the encouragement of healthy, improving forms of recreation and modernist forms of culture in certain circles of British socialism contributed to the emergence of this new type of exhibition. It examines the idea of the ‘open air’ in political discourses in inter-war Britain when poverty, poor housing and infectious disease were endemic and public health was comparatively neglected by government.  Communal participation in outdoor leisure recreation was encouraged by socialist groups and demands for access to ‘open space’ led to ‘mass trespasses’ and calls for the formation of national parks and ‘green belts’.  Thus, the Battersea Park exhibitions coincided with a moment when entitlement to improved health and ‘open space’ were urgent political causes.  Within months these demands had found other productive outcomes in the realisation of two major pieces of post-war legislation: the foundation of the National Health Service and the passing of the National Parks and Access to the Countryside Act.

The essay is an extended and revised version of a paper delivered at the ‘Sculpture and the Garden’ conference at University College, Bretton Hall, Wakefield, in 1998, organised by the Henry Moore Institute, New Arcadian Press, Yorkshire Sculpture Park, and the Centre for Sculpture, University College, Bretton Hall. The book analyses the role of sculpture in gardens from the 18th to the 20th centuries, with essays by Alan Powers (University of Greenwich), Joy Sleeman (Slade School of Fine Art), Chris Stephens (Tate Britain) and others. It was published in the UK and USA.

This essay offers the first detailed account of the Arts Council of Great Britain’s series of four 'Sculpture in the Home' exhibitions, which toured British municipal galleries in the late 1940s and 1950s. By presenting modern sculpture in simulated domestic settings, with furnishings selected by the Council of Industrial Design, the exhibitions encouraged visitors to purchase sculpture for their own homes. The essay identifies the types of sculpture shown, the untypically high proportion of female sculptors included and, through reproduction of unpublished exhibition plans and photographs, the unusual appearance of the exhibitions. It demonstrates that alongside the Arts Council’s early support of public sculpture and murals, it promoted the sale of small-scale domestic sculpture as another means by which art could have a place in the lives of ‘ordinary people’ (although in reality the price of most exhibits meant that purchase was restricted to the middle-classes). It analyses the aesthetic and social contexts for the growth of public and critical interest in the domestic function of modernist sculpture in that ‘home-centred society’ and thereby uncovers an aspect of post-war British sculpture long overshadowed by attention to its innovative forms of outdoor public display. The essay draws on the literature of post-war interior design, domestic space and gendered familial roles, and on archival research in the National Art Library, Tate Gallery Archive, and Design Council Archive. It was published to accompany the Henry Moore Institute’s exhibition, Sculpture in the Home: re-staging a post-war Initiative (2 Oct 2008 – 4 Jan 2009), in which the author recreated the appearance of the London-showings of the 1950 and 1953 exhibitions, attracting reviews in The Burlington Magazine, The Independent and The Yorkshire Post.

Котломанов А.О. "Пророческая фигура". Джекоб Эпстайн и проблема религиозного образа в истории современной скульптуры // Научные труды (Институт им. И. Е. Репина). 2015. № 33. С. 185—198.
Kotlomanov A.O. "Prophetic figure". Jacob Epstein and the problem of religious images in the history of modern sculpture. Scientific Works (I.E. Repin Institute), 2015, N 33, pp. 185—198 (In Russian).
The article analyzes some works of British sculptor Jacob Epstein (1880—1959), made on religious themes. Mostly, it describes the circumstances of the creation of the statue of The Risen Christ (1917—1919), its perception by the public and critics. Some important evidences of the time are translated into Russian, excerpts from newspaper and magazine publications, included in the Epstein’s book “Let there be sculpture”. Considered and his later works, finishing the theme begun in the statue of The Risen Christ. The final conclusions of the article related to the characteristics of the role of Epstein in the history of the XX century sculpture, his importance for the modern British art.

Котломанов А.О. Скульптура Генри Мура в контексте проблематики современного монумента // Актуальные проблемы теории и истории искусства: сборник статей. 2013. Вып. 3. С. 491—495
Kotlomanov A.O. Sculpture of Henry Moore in the context of the problems of modern monument. Actual Problems of Theory and History of Art, 2013, issue 3, pp. 491-495 (In Russian).
The article analyzes the work of renowned British sculptor Henry Moore. The main topic of consideration — Moore's experiments to create large-size sculptures to be installed in the public space. The sequence of the sculptor’s treatment to such forms is analyzed in aggregate with reference to the works of some theorists of modern sculpture and art critics, whose position in relation to the modern monument has in the 1950s and 80s a broad resonance. The final conclusions of the article related to the formulation of the role of monumental sculpture in the work of Moore in general, and with the statement that the success of his most successful large-format works closely related to the ideal setting — with the space of nature.

The first publication in a series of three articles devoted to the memory of Anthony Caro (1924—2013), one of the last great sculptors of the XX century. Gaining fame in the 1960s, he entered the history of art as an inspirer of the “new generation” — a group of British sculptors who were mostly his students. The publication traces the evolution of Caro’s work in the 1950s — 1960s, from early expressionistic sculptures to his famous abstract compositions. It also explores the origins of his perception of abstract sculpture in theoretical and practical context, analyzes the ideas of Clement Greenberg and art methods of American sculptor David Smith. Special attention is paid to the artistic program of the “new generation” and its relationship with the American minimalism.

Первая публикация в серии из трех статей, посвященных памяти Энтони Каро (1924—2013), одного из последних скульпторов XX века. Получив известность в 1960-е гг., он вошел в историю искусства как идейный вдохновитель «нового поколения» — группы английских скульпторов, бывших в основном его учениками. В публикации прослеживается эволюция творчества Каро в 1950-е — 1960-е гг., начиная от ранних экспрессионистических скульптур и заканчивая абстрактными композициями. Исследуются истоки его понимания абстрактной скульптуры в теоретическом и практическом контексте. Анализируются идеи Клемента Гринберга и художественный метод американского скульптора Дэвида Смита. Уделяется внимание художественной программе «нового поколения» и ее взаимосвязи с американским минимализмом. Итоговые выводы статьи связаны с размышлениями о глубоко индивидуальном характере творчества Каро, его личном пути в современной скульптуре.

The third and final article in a series dedicated to the memory of the outstanding British sculptor Anthony Caro (1924—2013). The article examines the period of Caro’s work from early 1980s to early 2010s. At this time his attitude to plastic form is undergoing significant changes as compared to the 1960—1970s, when he was perceived as one of the leaders of abstract sculpture. His major later works — large-scale installations that use all kinds of materials, including metal, wood and stone. The publication analyzes the most significant works of Caro executed since the 1980s, and discusses the general trends in the art of this period. Final conclusions related to the definition of creativity originality Caro, clarifying his outstanding role in the history of modern sculpture and contemporary art.

Третья, заключительная публикация в серии статей, посвященных памяти выдающегося английского скульптора Энтони Каро (1924—2013). В статье анализируется период в творчестве Каро начала 1980-х — начала 2010-х гг. В это время отношение Каро к объемно-пластическому образу претерпевает значительные изменения по сравнению с 1960—1970-ми гг., когда он воспринимался одним из лидеров абстрактной скульптуры. Его главные поздние произведения — масштабные инсталляции, где используются всевозможные материалы, включая металл, дерево и камень. В публикации предпринимается анализ наиболее значительных произведений британского скульптора, выполненных, начиная с 1980-х гг., а также рассматриваются общие тенденции в искусстве данного периода. Итоговые выводы публикации связаны с определением своеобразия творчества Каро, уточнением его выдающейся роли в истории современной скульптуры и современного искусства.

The second publication in a series of three articles devoted to the memory of the outstanding British sculptor Anthony Caro. The article examines the period of Caro’s work of late 1960s — 1970s. During this time he began to develop new sculpture techniques largely opposed his previous ideas about the shape and volume. Moreover, in his new works was evident even appeal to the traditional understanding of the surface and material. The publication analyzes some typical Caro’s works of that time and discusses theoretical views of his followers, particularly William Tucker. As a result, it is concluded that the 1970s works of Caro were rather a transitional stage in his future treatment to radically new forms in sculpture, primarily — to installation.

Вторая публикация в серии из трех статей, посвященных памяти выдающегося английского скульптора Энтони Каро. В статье анализируется период в творчестве Каро конца 1960-х — 1970-х гг. В это время в его скульптуре проявили себя черты, позволившие говорить об изменении отношения Каро к абстрактному искусству. Более того, в новых произведениях мастера видели даже обращение к традиционному пониманию объема и материала. В публикации проводится анализ некоторых характерных работ Каро данного времени, а также рассматриваются теоретические воззрения его учеников, в частности Уильяма Такера. В итоге делается вывод о том, что работы Каро 1970-х гг. были скорее переходным этапом в его будущем обращении к принципиально новым формам в скульптуре, прежде всего — к инсталляции.

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