Barbara Hepworth 1903 - 1975


William Worthy, 1957


Gimpel Fils, London , 1958
Tate Gallery, Liverpool, Barbara Hepworth Retrospective, 1994 p. 138, touring to:

New Haven, Yale Center for British Art

Toronto, Art Gallery of Ontario


Penelope Curtis and Alan G Wilkinson, Barbara Hepworth Retrospective, London, 1994 p. 138 (illustrated)


Winged Figure represents a significant moment in Barbara Hepworth’s later career as she started to move away from carving in wood and stone and began to work in metal - brass, as here, and bronze for the most part - the sculptures being cast from the hard plaster originals on which she worked as a carver. This new technique was to have a radical effect on Hepworth’s sculpture, resulting in the kind of much airier, open forms that would have been almost impossible to undertake in stone or wood. In this sculpture, for example, it allowed her to experiment further with the stringed forms that had first made their appearance in her work in the early 1940s and probably derived from the influence of the sculptor Naum Gabo, a close friend from her pre-war Hampstead days and who, like Hepworth, had come down to live in St. Ives at the outbreak of the war. Gabo’s concerns were purely with geometric, constructivist forms however while in Hepworth’s work, as always, the formal idea relates to her feelings about the landscape and the figure. At that time she had written how 'the strings were the tension I feel between myself and the sea, the wind and the hills' and this sense of a ‘return to nature’ in her work following her settling permanently in St. Ives is the predominant characteristic of Winged Figure as well. For during these years her work had become increasingly bound up in her understanding of the Cornish landscape of the Penwith peninsular close to St. Ives and Winged Figure is very much a figure in a landscape. Its closeness to her Curved Form (Trevalgan) of 1956 certainly confirms this; a work about which Hepworth observed at the time that it had been 'conceived standing on the hill called Trevalgan between St. Ives and Zennor.........At this point, facing the setting sun across the Atlantic, where sky and sea blend with hills and rocks the forms seem to enfold the watcher and lift him toward the sky.'
An interesting footnote to the above; in 1962 Winged Figure in much enlarged form, was installed as the massive sculpture still to be seen on the facade of the John Lewis building in Oxford Street.