Hubert Dalwood

Hubert Cyril Dalwood (2 June 1924 – 2 November 1976) was a British sculptor.

Investigation of potential copyright issue Please note this is about the text of this Wikipedia article; it should not be taken to reflect on the subject of this article. Do not restore or edit the blanked content on this page until the issue is resolved by an administrator, copyright clerk or OTRS agent.
If you have just labeled this page as a potential copyright issue, please follow the instructions for filing at the bottom of the box.
The previous content of this page or section has been identified as posing a potential copyright issue, as a copy or modification of the text from the source(s) below, and is now listed on Wikipedia:Copyright problems (listing): http://kathydalwood.blogspot.co.uk/2009/10/sculpture-hubert-dalwood-exhibition-at.html (Duplication Detector report) Unless the copyright status of the text on this page is clarified, the problematic text or the entire page may be deleted one week after the time of its listing. Temporarily, the original posting is still accessible for viewing in the page history.
Can you help resolve this issue? If you hold the copyright to this text, you can license it in a manner that allows its use on Wikipedia. Click "Show" to see how. You must permit the use of your material under the terms of the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA) and the GNU Free Documentation License (GFDL) (unversioned, with no invariant sections, front-cover texts, or back-cover texts). Explain your intent to license the content on this article's discussion page To confirm your permission, you can either display a notice to this effect at the site of original publication or send an e-mail from an address associated with the original publication to permissions-en at wikimedia dot org or a postal letter to the Wikimedia Foundation. These messages must explicitly permit use under CC-BY-SA and the GFDL. See Wikipedia:Donating copyrighted materials. Note that articles on Wikipedia must be written from a neutral point of view and must be verifiable in published third-party sources; consider whether, copyright issues aside, your text is appropriate for inclusion in Wikipedia. To demonstrate that this text is in the public domain, or is already under a license suitable for Wikipedia, click "Show". Explain this on this article's discussion page, with reference to evidence. Wikipedia:Public domain and Wikipedia:Compatibly licensed may assist in determining the status. Otherwise, you may write a new article without copyright-infringing material. Click "Show" to read where and how. Your rewrite should be placed on this page, where it will be available for an administrator or clerk to review it at the end of the listing period. Follow this link to create the temporary subpage. Simply modifying copyrighted text is not sufficient to avoid copyright infringement—if the original copyright violation cannot be cleanly removed or the article reverted to a prior version, it is best to write the article from scratch. (See Wikipedia:Close paraphrasing.) For license compliance, any content used from the original article must be properly attributed; if you use content from the original, please leave a note at the top of your rewrite saying as much. You may duplicate non-infringing text that you had contributed yourself. It is always a good idea, if rewriting, to identify the point where the copyrighted content was imported to Wikipedia and to check to make sure that the contributor did not add content imported from other sources. When closing investigations, clerks and administrators may find other copyright problems than the one identified. If this material is in the proposed rewrite and cannot be easily removed, the rewrite may not be usable. State that you have created a rewrite on this article's discussion page.
About importing text to Wikipedia Posting copyrighted material without the express permission of the copyright holder is unlawful and against Wikipedia policy. If you have express permission, this must be verified either by explicit release at the source or by e-mail or letter to the Wikimedia Foundation. See Wikipedia:Declaration of consent for all enquiries. Policy requires that we block those who repeatedly post copyrighted material without express permission.	Instructions for filing If you have tagged the article for investigation, please complete the following steps: Add the following to the bottom of Wikipedia:Copyright_problems/2015 June 27 `* {{subst:article-cv\|:Hubert Dalwood}} from http://kathydalwood.blogspot.co.uk/2009/10/sculpture-hubert-dalwood-exhibition-at.html. ~~~~` Place this notice on the talk page of the contributor of the copyrighted material: `{{subst:Nothanks-web\|pg=Hubert Dalwood\|url=http://kathydalwood.blogspot.co.uk/2009/10/sculpture-hubert-dalwood-exhibition-at.html}} ~~~~` To blank a section instead of an entire article, add the template to the beginning of the section and </div> at the end of the portion you intend to blank.

Life

Hubert Dalwood (known as Nibs) was born in Bristol, England, and was described by the art critic Norbert Lynton as "one of the most original and inventive minds in the field of modern sculpture".^[1]^[2]

He was born on 2 June 1924 in Bristol. He became an apprentice engineer with the Bristol Aeroplane Company (1940–4), leaving to join the Royal Navy as an engineer (1944–46). On leaving the navy, he studied art at the Bath Academy of Art, at Corsham, under Kenneth Armitage, until 1949.

In that year he started his long-term relationship with Gimpel Fils in London, with his first involvement in a group exhibition. His first one-man exhibition was held there in 1954.^[3]

In 1951 he won an Italian Government Scholarship and worked in a bronze foundry in Milan where he met the sculptor Marino Marini. On returning to England, he taught at Newport School of Art (1951–55). He was awarded a Gregory Fellowship in Sculpture at the University of Leeds (1955–59), following on from Kenneth Armitage. Between 1956 and 1964 he taught at a number of Colleges of Art, including Leeds, Royal, Hornsey and Maidstone. In 1959 he was commissioned to make three large columns for Liverpool University.^[4] In the same year he was awarded First Prize for Sculpture in the John Moores Liverpool Exhibition, with his work 'Large Object' and, three years later, in 1962, the David E. Bright Sculpture Prize at the Venice Biennale.

In 1956 he was a founder member of the 56 Group (later renamed 56 Group Wales). He left the group in 1970.^[5]

In 1964 his growing status won him a Professorship to the University of Illinois.

He progressed to become Head of the Sculpture Department at Hornsey College of Art, in 1966, where he stayed until 1973. He won a Churchill Scholarship in 1972, allowing him to visit India and the Far East, to further his studies of gardens and landscapes. His final move was to take him to the Central School of Art, where he was appointed Head of the Sculpture Department.

He was elected Associate of the Royal Academy of Arts on 30 April 1976.

On 2 November 1976, after a short illness, Dalwood died aged 52 in London. William Packer, the critic, and also a friend, called him "one of the best artists of his generation, a man who could have civilised and enlivened our cities and fired our imaginations."

Style

Dalwood's primarily abstract sculptures of the 1950s and early 1960s often evoked the feeling of ritualistic objects or artefacts: as Herbert Read wrote at the time, 'the modern artist, such as Hubert Dalwood, seems determined to lead us back to the hidden sources of awe and wonder'.^[6]

Like many sculptors, Dalwood's early works were based on figures, especially the female form. But from the mid-1950s he adopted an abstract imagery moving away from any semblance to the human form, creating a series of what he called 'mysterious' objects. Their heavily worked and textured skins recall those of archaeological artefacts, excavated from the earth, as well as the craggy terrains of natural landscapes.

He worked in clay and plaster, revealing a fascination with the qualities of the surface, leaving tell-tale finger prints and marks, casting pieces in bronze or aluminium.

In the mid 1950s, Henry Moore began to acquire works by younger British sculptors, amongst them Hubert Dalwood's Tree^[7] Dalwood's works directly evoked the landscape, but did so in ways that also suggested the human form. As viewers look for the outlines and forms of a tree in this sculpture, they can also see facial profiles with eyes, nose and mouth in the sculpture's crudely gridded sides. Tree was, and still is, a strange and enigmatic sculpture, and it is not difficult to see why it caught the eye and mind of Henry Moore.

Tree also stands as a bold early statement of interest in the complex relationship between sculpture, landscape and the imagination – a central strand to his work that would continue throughout his career.

His three years in Leeds, between 1955 and 1958, were highly influential, bringing him into close contact with painters such as Alan Davie, Terry Frost and Harry Thubron. Connections between their paintings and his sculptures of the time have often been remarked upon by critics, and Tree is often cited within this context. Yet Dalwood's Tree also stands as a bold early statement of interest in the complex relationship between sculpture, landscape and the imagination – a central strand to his work that would continue throughout his career.

A Single Tree developed into a variety of more complex object environments and from the late 1950s to the mid-1970s, his catalogue of works abounds with 'places', 'countries', 'gardens', 'slopes' and 'landscapes'. Many of Dalwood's earlier sculptures, such as Icon (1958)^[8] and Throne (1960), come with their own integrated, inbuilt bases and in some, such as the Bonzai Gardens and Landscapes of the mid 1970s, the bases expand horizontally to become the main part of the sculptures themselves. These works underline how the close, interconnected relationship between an object and the ground was central to Dalwood's thinking not only about sculpture, but also about culture and nature generally. Things double up in his work: objects stand as environments and both ‘architectural objects’ and ‘landscape objects’ have a shared and organically grounded aspect to them.

Dalwood had a fondness for the craggy landscapes of Cornwall and Yorkshire, including Brimham Rocks. Such landscapes evoked modern art as much as pre-history, as Dalwood knew. Many of the all-important surfaces of Dalwood's bronze and plaster sculptures deliberately recall the weathered, rough surfaces of rocks. However, he also produced shiny aluminium surfaces. From the mid 1960s, following a period spent teaching in North America, Dalwood became increasingly interested in architecture and its relationship to landscape. He started to create monumental architectural forms out of polished aluminium and sheet metal, which reflect their surroundings; and imagined, magical environments – vast landscapes on a small scale – which can be understood in their entirety when seen from above.

He was commissioned to make works for various public projects and universities in Britain, and many of his works were cast in his favoured material, aluminium. One of his works can be seen at Bodington Hall, one of the student residencies at the University of Leeds. (1961)^[9]

Sculptures

Damos by Hubert Dalwood, The Hepworth Gallery, Wakefield.

The following are some of his works that can be seen on the internet:

Standing Draped Figure 1954^[10]
Lucca 1958^[11]
Large Object 1959^[12]
O.A.S. Assassins 1962^[13]
Maquette for 'Arbor' 1971^[14]

Bibliography

The Sculpture of Hubert Dalwood by Chris Stephens (1999) published: The Henry Moore Foundation in association with Lund Humphries ISBN 0-85331-786-0.

References

↑ "Hubert Dalwood (1924 - 1976)". Fine Art. Retrieved 4 December 2013.
↑ Norbert Lynton, Hubert Dalwood: Sculptures and Reliefs (London: Arts Council, 1979).
↑
↑ "Three Uprights, Liverpool University". Liverpoolmonuments.co.uk. 6 May 2007. Retrieved 4 December 2013.
↑ Moore, David (2012). A Taste of the Avant-Garde – 56 Group Wales 56 Years. Brecon, Wales: Crooked Window. ISBN 978 0 9563602 1 2.
↑ "Hubert Dalwood :: England & Co". Englandgallery.com. Retrieved 4 December 2013.
↑ "artnet Galleries: Tree by Hubert Dalwood from New Art Centre". Artnet.com. Retrieved 4 December 2013.
↑ "Sculpture Hubert Dalwood (1924–1976) – Icon (1958) – Leeds Art Gallery Online". Leedsartgallery.co.uk. Retrieved 4 December 2013.
↑ Dalwood, Kathy (26 February 2004). "kathy dalwood studio blog: Sculpture: Hubert Dalwood exhibition – Roche Court". Kathydalwood.blogspot.co.uk. Retrieved 4 December 2013.
↑ "'Standing Draped Figure', Hubert Dalwood". Tate. Retrieved 4 December 2013.
↑ "'Lucca', Hubert Dalwood". Tate. Retrieved 4 December 2013.
↑ "'Large Object', Hubert Dalwood". Tate. Retrieved 4 December 2013.
↑ "'O.A.S. Assassins', Hubert Dalwood". Tate. Retrieved 4 December 2013.
↑ "'Maquette for 'Arbor'', Hubert Dalwood". Tate. 15 January 1972. Retrieved 4 December 2013.

Authority control	VIAF: 62356052 GND: 119329867 SUDOC: 052534286 BNF: cb14972176q (data) ULAN: 500108812 RKD: 230698

Geometry of Fear

Robert Adams Kenneth Armitage John Berger Ralph Brown Reg Butler Lynn Chadwick Geoffrey Clarke Robert Clatworthy Hubert Dalwood Elisabeth Frink George Fullard John Hoskin Bernard Meadows Eduardo Paolozzi Leslie Thornton William Turnbull

This article is issued from Wikipedia - version of the Sunday, June 28, 2015. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.