Shine: sculpture and surface in the 1920s and 30s
16 February – 12 May 2002
Exhibition in the Upper Sculpture Study Gallery, Leeds Art Gallery
What does it mean for a sculpture to shine? How does surface communicate a sculpture's concerns? This exhibition explores how making a sculpture shine affects its meaning.
Installation view of Shine: sculpture and surface in the 1920s and 30s, showing (left): F. E. McWilliam Trio 1936 Cherrywood Photo: Jerry Hardman-Jones
Installation view of Shine: sculpture and surface in the 1920s and 30s, showing (left): F. E. McWilliam Trio 1936 Cherrywood
Photo: Jerry Hardman-Jones
The use of surface in the 1920s and 30s became a strong consideration as themes of reflection, regeneration and new beginnings were being explored by sculptors of the day.
Fourteen examples have been selected for this exhibition to illustrate the new ways of exploring concepts of movement, music, wealth and value through the treatment of a sculpture's surface.
By looking at sculptures ranging from Eric Kennington's The Diver, to Portrait of George IV by Leon Underwood, this study exhibition looks at a variety of treatments using stone, wood and metal.
This Sculpture Study Galleries exhibition draws from the sculpture collections of Leeds Museums and Galleries, as well as from public and private collections to bring together sculptures by Barbara Hepworth, Henry Moore, Gertrude Hermes, Eric Kennington, Leon Underwood, Maurice Lambert, J.D. Fergusson, F.E. McWilliam and Edward Carter Preston.
Shine runs in parallel to Second Skin, a major exhibition that explores the connections between the process of life casting and figurative sculpture, and also highlights the question of surface and the ways different surfaces can be achieved.
Henry Moore Institute
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