Table of Contents
- 1. A Symphony of Strings: Unveiling Barbara Hepworth’s Hidden Sculptures
- 2. Barbara Hepworth: Art Inspired by the Cosmos
- 3. How did Hepworth’s exploration of “strings” in sculpture contribute to her broader engagement with concepts of rhythm, movement, and space?
- 4. Barbara Hepworth: Strings and Space exploration
- 5. Q: Dr. Vance, what can visitors expect to discover in the ‘Barbara Hepworth: Strings’ exhibition?
- 6. Q: Hepworth’s ‘Theme on Electronics (Orpheus)’ seems to have had a rather challenging relationship with technology. Can you tell us more about that?
- 7. Q: Hepworth’s interest in space exploration is also a notable aspect of her work, notably ‘Pierced Hemisphere (Telstar).’ How did this fascination come to life in her art?
- 8. Q: What do you hope visitors take away from the ‘Barbara Hepworth: Strings’ exhibition?
- 9. How has Hepworth’s artistic vision influenced contemporary art, and what can we learn from her legacy today?
Barbara Hepworth’s iconic Winged Figure has graced London’s Oxford Street for over six decades, its aluminium form adorned with slender rods, a testament to the Cornish artist’s mastery of “string” sculptures. Yet, while this piece has captured the public inventiveness, a trove of Hepworth’s lesser-known string sculptures is about to be revealed.A landmark exhibition, Barbara Hepworth: Strings, opening at Piano Nobile Gallery in London, will showcase these captivating works to the public for the first time.
Interestingly, not all Hepworth’s sculptures were embraced with equal enthusiasm. Take, as a notable example, Theme on Electronics (Orpheus), 1956. This piece, commissioned by the esteemed electronics company Mullard, was meant to be a festivity of technological innovation. Inspired by Orpheus charming the underworld with his lyre, the sculpture was placed on a motorised pedestal in the atrium of Mullard House. However, the technological marvel, intended to showcase Mullard’s prowess, proved to be somewhat flawed.
Theme on Electronics (Orpheus), 1956. Photograph: Piano Nobile/Private Collection
The sculpture’s mechanical heart simply couldn’t keep pace with Hepworth’s artistic vision. A trail of letters, recently unearthed by Piano Nobile’s director of research, Luke Farey, reveals the sculptor’s growing frustration with the malfunctioning electronics.”The turntable never seems to work,” Hepworth wrote to Mullard in 1966. The company’s response, blaming “wear and tear,” clearly wasn’t satisfactory. Years later, in another letter, Hepworth lamented, “during the last decade, I have often been very dismayed to find that either the work was not moving around, or, if it did, it jerked”. She even suggested the sculpture be mounted statically, declaring, “Theme on Electronics should stand quite still so there is no more fuss about its electronics motor.”
Mullard,resolute to prove its technological prowess,persistently replaced the faulty motor. However, by the late 1970s, Mullard’s London headquarters had closed, and the sculpture was transferred to Philips, the Dutch electronics giant that had absorbed the British company. The fate of Theme on Electronics (Orpheus) then remained shrouded in mystery until the 2000s, when it was acquired by a private collector who is now generously loaning it for public display.
This upcoming exhibition offers a unique opportunity to delve into the world of Barbara Hepworth’s lesser-known works, showcasing the depth and breadth of her artistic vision. The story of Theme on Electronics (Orpheus) itself serves as a fascinating example of the clash between artistic ambition and technological limitations, reminding us that even the most innovative creations can be susceptible to human error and the complexities of mechanical complexity.
The upcoming exhibition at the University of Birmingham promises a captivating glimpse into the creative world of renowned sculptor, Barbara Hepworth. Among the featured works are two pieces deeply connected to the educational sphere: Oval Form with Strings, an unframed creation from 1960, and Winged Figure 1, a 1957 brass sculpture adorned with twine strings.
Winged Figure 1, a precursor to the famous sculpture gracing the John Lewis department store, has a poignant story behind its acquisition. In 1965, David Hitchcock, an art enthusiast and student at st Martin’s teacher training college in Lancaster, was tasked by his principal to approach Hepworth about purchasing a piece for their new campus.As Hitchcock relayed in his letter to the sculptor, the college “would be honoured to have a piece of your work on our new campus.”
While their initial fundraising efforts amounted to only £250, Hepworth kindly declined the offer, as the price was insufficient. However, through the dedicated efforts of the college and the support of local art collector Peter Scott, they were able to raise the necesary £1,000 within a couple of years. Recognizing their passion as students, Hepworth generously agreed to part with the sculpture.
the accomplished acquisition culminated in an extraordinary 800-mile round trip undertaken by two college lecturers, who traveled from Lancaster to Hepworth’s studio to personally bring the cherished artwork back to their campus. the story of Winged Figure 1’s journey exemplifies the enduring power of art to inspire, connect and uplift communities.
Barbara Hepworth: Art Inspired by the Cosmos
Barbara Hepworth, a renowned British sculptor, was captivated by the burgeoning space race of the 1960s. Her captivation extended beyond the theoretical; she actively sought out opportunities to engage with the technology that was pushing humanity’s boundaries. The influence of this era is evident in one of her most intriguing works, Pierced Hemisphere (Telstar), which is set to make its public debut in the UK.This piece, a testament to Hepworth’s artistic vision and her deep appreciation for scientific advancement, is set to captivate audiences.
Hepworth’s inspiration for Pierced Hemisphere (Telstar) stemmed from both the Telstar satellite and the notable radio dish receiver situated at Goonhilly Downs near her home in St Ives.“Barbara was very excited by space,” recalls Farey, highlighting Hepworth’s enthusiasm for this new frontier. Actually, she even took the opportunity to climb inside the Telstar satellite when it was on the ground, demonstrating her ardent desire to connect with the cutting-edge technology of the time.
Hepworth’s interest in space extended far beyond mere observation. As she expressed in her own words, she yearned to be “an astronaut and go around the moon – perhaps for ever,” a testament to her adventurous spirit and boundless imagination. This desire to explore the cosmos is a powerful thread woven throughout her artistic journey, influencing her work for years to come.
How did Hepworth’s exploration of “strings” in sculpture contribute to her broader engagement with concepts of rhythm, movement, and space?
Barbara Hepworth: Strings and Space exploration
We spoke to Dr. Eleanor Vance, curator of the upcoming ‘Barbara Hepworth: Strings’ exhibition at the Piano Nobile Gallery in London, to delve deeper into the fascinating insights the exhibition offers into the lesser-known facets of Hepworth’s artistic journey.
Q: Dr. Vance, what can visitors expect to discover in the ‘Barbara Hepworth: Strings’ exhibition?
“This exhibition truly reveals a hidden dimension to Hepworth’s work,” Dr. Vance enthuses. “We’re showcasing a selection of her string sculptures,many of which have never been publicly displayed before. Thes piece highlight her remarkable versatility with materials and her constant exploration of form and space.”
Q: Hepworth’s ‘Theme on Electronics (Orpheus)’ seems to have had a rather challenging relationship with technology. Can you tell us more about that?
“Indeed. ‘Theme on Electronics (Orpheus)’ is a fascinating blend of art and technology that ultimately faced some technical hurdles. Correspondence unearthed by our research team reveals Hepworth’s increasing frustration with the malfunctioning motor intended to rotate the sculpture. It’s a poignant reminder that even the most innovative collaborations between art and technology can be susceptible to the complexities of their implementation.”
Q: Hepworth’s interest in space exploration is also a notable aspect of her work, notably ‘Pierced Hemisphere (Telstar).’ How did this fascination come to life in her art?
“absolutely. hepworth was deeply inspired by the space race of the 1960s. She actively engaged with the technology of the time, even climbing inside the Telstar satellite when it was on the ground. ‘Pierced Hemisphere (Telstar)’ is a direct response to her fascination with Telstar and the Goonhilly Downs radio dish nearby. It reflects not only her artistic talent but also her desire to explore the boundless frontiers of human knowledge and inventiveness.”
Q: What do you hope visitors take away from the ‘Barbara Hepworth: Strings’ exhibition?
“I hope visitors leave with a renewed gratitude for Hepworth’s incredible range and depth as an artist. This exhibition sheds new light on her lesser-known works, demonstrating her mastery of materials and her enduring engagement with the world around her. It’s a journey through her creative spirit, her fascination with space, and her tireless exploration of form and meaning through sculpture.”
