Lynn Chadwick, Study
|Artist:||Lynn Chadwick (1914 - 9999)|
|Medium:||Pen and ink drawing|
|Image Size:||13 in x 10.5 in (33 cm x 26.7 cm)|
|Framed Size:||32 in x 26.5 in (81.3 cm x 67.3 cm)|
|Signature:||Signed and dated in black felt pen in the lower right corner, Chadwick 57.|
|Condition:||This work is in extremely good condition.|
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Item # 2218
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Historical Description of this artwork
Haunting in quality, Chadwick renders a form that captures qualities of both structural solidity and bestial physicality. Possibly created as a study for Maquette II (R34 Memorial), this work offers a unique glimpse into Chadwick unique artistic process.
Executed on a fine cream drawing paper, this work is signed and dated in the lower right-hand corner. The drawing is executed with a fine tipped felt pen in black.
Bird like in inspiration, this image transfixes the viewer with its' large inky eyes and outstretched wings. The artist's delicate use of line lends a mechanical aspect to the work further enhancing the mysterious quality of the image. Through his use of intense shading, Chadwick creates a three dimensional perspective, allowing the creature to depart from the page entering the viewer's space.
In Dennis Farr's and Eva Chadwick's volume regarding the authors state, “Chadwick's method of beginning his sculpture by constructing an armature of abstract shapes is the reverse of more traditional processes, where a sculptor may start with a naturalistic subject, perhaps in the form of a model which he then enlarges, only to simplify and purge it of its more overtly representational elements. Chadwick likes abstract shapes, and he says, like Victor Pasmore, that he can't resist thinking in terms of pure forms, pure shapes; yet at the same time, he admits that he 'can't resist adding something.' Abstract shapes supported on legs begin to acquire movement, and hence to suggest birds, animals, or human figures…Thus, while thinking always in sculptural terms of mass, weight, and movement, Chadwick invests his abstract shapes with allusive vitality” (Farr, 9).
About the Framing:
The image is presented in a sleek black and gold frame. The gold detailing of the molding compliments the tonality of the paper creating a luminous presentation. In addition, the black of the molding and inner fillet enhances the linearity of the composition. The framing is completed with cream linen mattes and a black inner fillet.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Artistic Styles of Chadwick
Lynn Chadwick Complete Biography
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Lynn Chadwick Biography
Lynn Chadwick was born in London in 1914. He attended the Merchant Taylor's School, and after taking his School Certificate stayed on to study drawing, watercolour and oil painting. He was then sent to Vouvray to study French. From 1933 to 1939 he trained and worked as an architectural draughtsman in London.
In 1940-41 he worked as a farm labourer and then volunteered for the Fleet Air Arm, becoming a pilot and gaining a commission. After the war he returned to his work with the architect Rodney Thomas, specialising in exhibition design. His early sculptural works took the form of mobiles, which he began to make in 1947, having moved from London to Gloucestershire. A mobile constructed from aluminium and balsa wood was shown at the Aluminium Development Stand at the Builders' Trades Exhibition that year. At this time, and until 1954, he produced textile, furniture and architectural designs.
Chadwick's first one-man exhibition was held at the Gimpel Fils Gallery, London, in 1950, the first of many exhibitions world-wide. These have included the XXVIII Venice Biennale of 1956 where he won the International Sculpture Prize, one of many awards and accolades, including the CBE in 1964. Early in his career he worked occasionally to commission, but less as he became established.
His approach to making sculpture is based in construction rather than modelling. Chadwick first makes a linear armature or skeleton before building on a solid skin. The work might be unique or made to a predetermined edition by casting or fabrication. Chadwick has created a permanent exhibition of his work at his Gloucestershire home, Lypiatt Park, and also a foundry, Pangolin, which casts not only his sculpture but also work for many other artists.