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Geoffrey Clarke: a sculptor?s materials' is the first monograph to address the full range of this artist?s work, from stained glass to sculpture, jewellery to textiles, land art to medals. Initially trained in stained glass, Geoffrey Clarke (1924?2014) came to international recognition in 1952, as one of the young British sculptors who exhibited at the Venice Biennale. He rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century, developing an innovative casting technique using aluminium and establishing his own foundry at his home in Suffolk. Clarke?s versatility secured him commissions from banks, offices, universities and cathedrals (most notably, Coventry), which he approached with characteristic verve. Many of these works, sadly neglected, are now finding new audiences: Spirit of Electricity (1958?61) and Spiral Nebula (1962) were both listed Grade II by Historic England in 2016.
Covers clay, plaster building, mold-making, cement, stone carving, wood, plastic, metals, welding, bronze casting, and sand casting
Geoffrey Clarke: a sculptor's prints -- Invisible worlds -- Sculptural visions -- Cultures of production / Geoffrey Clarke -- 'Exposition of a Belief' (1951) -- Catalogue.
This is the compelling account of the life and work of Albert Reuss (1889-1975), a Jewish painter and sculptor who developed a uniquely individual style. Born in Vienna, he emigrated to England in 1938 following Hitler's annexation of Austria. In the process, Reuss lost many members of his family, as well as all his possessions, and the reputation he had built up as an artist in Vienna prior to his departure. Many of his artworks were confiscated by the Nazis. He and his wife Rosa were helped to escape from Vienna by Cornishman and Quaker, John Sturge Stephens. Reuss continued to work as an artist in England, but his style changed dramatically, reflecting the trauma he had suffered. Following his exile, Reuss held numerous solo exhibitions in municipal galleries throughout England and in 1948, he and Rosa moved to Mousehole, Cornwall, where they established the ARRA Gallery. 0From 1953 to 1973 he held regular one-man shows at the renowned O'Hana Gallery in London. Several provincial galleries hold his work, most notably Newlyn Art Gallery in Cornwall, as do the British Museum and the Victoria and Albert Museum in London, the Belvedere Gallery and the Albertina in Vienna, and the Tel Aviv Museum of Art in Israel. In researching the life of this intriguing man, Susan Soyinka interviewed many people who knew him, and also retrieved a huge archive on Reuss from Vienna, which included much of his lifetime's correspondence. A most fascinating story emerged of this lonely and isolated artist's struggle to develop his art and to survive, a story full of human drama and tragedy, all set against the background of world historic events. The book includes first-hand accounts of the couple's escape from Vienna, and of their experience as refugees in war-time Britain.
Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists - from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 - 1 986), known as the "Picasso of Sculpture", is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the "voi ds", so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

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