Wieneke Archive Book 4i : Art - General Presscuttings

The Home Forum "GROUP I (CoNco wisE) ": d sculpture and are und the schools, are most lively interest . are drawing pene- ils. There is a world iween seeing an orig- .. color reproduction. A A led to be a sculptor. tored with my father sit Riding of York- ses every landscape Aire. I had to be a , I had to use my an image. I rather g an image mentally s is a special faculty. onceives his eompo- to end in space and tor sees in his mind all the way round. s it. 'e background was ital. The paradox of im industrial towns of Ihe tmigtUneent. -s1 Riding, made one wally about the re - .an to his environ- stilly and beauty of id which can trans- ivironment and harsh ions. To me a basic npture is to express of man and his fun - with nature. Gesture, onun, whether in he- r in nature, are of s. penteen i was fortu- c win a scholarship :pool of Art I did not harmony with the sal methods of Iol- a:rept discipline be- ceep my scholarship. spent there wasted. isidous amount about corny and structure, 1 not put the know l- ssal Use. school of Art in Lon - sly next scholarship Ater the war. there susly vital movement. people like myself. I from school, there were fully formed students hack from the war on army grants. Sev- eral of these proved to be major art- ists, among them Henry Moore, We made quite a group who really helped and sustained one another. We had a clear idea of our goal. But I do not think we were in any way aggressive. A A A A Traveling Scholarship to Italy was enormously important. Neither in Yorkshire nor in London had I really appreciated the relationship of light, of moon or sun, to forms. In the strong Italian light the subtleties of form. color and contour were in- tensified. I spent my entire year looking at and studying painting, architecture and sculpture in rela- tion to light. I also studied' the tra- ditional ways of carving marble, a stone not native to England. Once more I was in disgrace. Instead of coming back with traditional works, I did not produce a single piece. But that year of awaking-boat truiltingl-1,,, has remained a constant inspiration. Much later, in 1954, I went to Greece. There was no money to go earlier. Greece more than fulfilled my greatest hopes. There f found the extraordinary light which I had dis- covered in Cornwall. I also found the philosophical relationship be- tween man and his landscape, an un- derstanding and harmony. a main- tenance of the spirit which gives power to form. Form as an affirma- tive image is really the tactile as well as the visual, concrete, embodi- ment of man's poise in relation to the universe. In 1930 I turned away from real- ism because I was a carver and be- lieved in "direet" 011Ni, ;4, that is in working straight in'a the block, When I found that i c .01t1 thus, carve freely. make forms v Bich expressed my feelings, but wh ch bore no r& Winn to anything but my own ideal about life itself, I realized that tilt whole conception and harmony of the idea was of paramount impor- tance. When in 1931 I pierced my first piece, I remember the great joy it gave me to find the depth and re- sulting expansion of the form and of 711,,,lm, lull 13, 1963 'here ( I \ I lc t I II( Hz Flinn the Shantytown lilt the edge of a gical city to the castle on an isolated hill. Inuit the tents of nomadic tribesmen 1.1 the ser- ried aimrtments, the "aloe query might be made to inhabitants. "Where dwellest thou This question was asked rid Christ Jesus by two disciples of John the Baptist, whom they had left to follow the Master. They asked Jesus (John I:38), "Where dwelled thou..' They were taken and shown his abode. and one re- mained to become his disciple. A A A The simple abode of the Naza- rene was not as important as the profound spiritual import of this holy query. 11 could have implied, in substance, Where do your thoughts find rest? Where do yon in con .,.atir.o. loon Iii yin" Indki our ' .1, hOUSehOld hove 1..1111.1 !hart peace which we now which we ask to share with you... Jesus knew well that it was the Christ, which he embodied, that had drawn these men unto him. Ile mircle., by eeurtety et throw recognised the necessity of satisfy - Marble soulpfore by Barbara Hepworth ing their spiritual need for a higher habitation of consciousness. Not matter, but Mind, God, the leather, must meet their need, Where God dwells, there dwells His beloved Mill 111,1i '1'111. 111:11(11'1111 world cannot contain the infinite One and only, hot tali., (toe, this All, can and does iodialio all ideas, which are imparted he Ilito and known to Him. For the Master to comprehend the fart that man is one with God as His reflection was for him to see that in reality he, too, was a portion of this holy household. A A A Christian Science, which Mary Baker Eddy discovered and founded, is in complete accord with the Bible. This statement, for example, occurs in her book "Science and Health with Key to the Scriptures" (p. 254): "Pilgrim on earth, thy the light entering It. 1 ' ichieved a complete sense of free t or my own calligraphy. In a foreword In the catalog for an exhibition of my work in 1937, Professor J. D. Bernal likened some of my sculptures to the ancient stones and cromlechs of Cornwall. But at that time I had not been to Cornwall. When, just before the war, came here to live, the Cornish landscape linked up so many of my earlier convictions that it fused for me my childhood in Yorkshire with the inspiration of the light and philosophies of Italy and Greece. In the sculpture "Three Forms (Winter Rocks)," the stones are reminiscent of the groups of stone scattered about the moors, or a group of figures on the beaches. "Group I. Concourse." carved in marble, imagines the movement of a group of people com- municating with one another in a state of stability and understanding. A A A 111 lilt. otie of .x,11111C 0111110 111)0111 -.1..y willpftirn is the expansion of the sculptural idea in the entirely visionary con- ceptions, in the use of many different materials. In addition to stone, bronze and wood. sculptors now work in cement, slate, copper, steel, glass and even plastics. Just as the Italian Primitives, by their percep- tive use of the very colors one now experiences on a jet flight. expressed their ideas of heavenly beauty, so I feel that contemporary sculptors are unconsciously realizing the affirma- tive images which our present so- ciety needs if it is to come to grips v..ith the extraordinary developments in science and in swop: if it is to meet the uneasy sense that we may not be able to hold our own. It seems to me that the post-war difficulties which architects have had to meet (the current sense of clan- ger) have produced in them, and in some artists. a trend toward a short- term policy, a pessImistre tutIonk. But I do feel that. this can b' over- come, indeed is now being overcome. The issue may well depend on the attitudes we adopt. Are we long to he rich. rich that is in or are we going to be obsessed by the fear of being poor materially? In the ex- pression of ideas there is no limita- tion, I believe most strongly that any sculpture made now should he valid in its form and ideas a thousand years hence. A sculpture should he an act of praise, an (imbuing expres- ;ion of the divine spirit. BAR !Ina A. fatewnnru The rhree pre; MIA s n,hrfe e 11),,r :cries appeared no April 13. May 25, hwni I, loan, ,, I Ihou art sue.1 ill The ohs dical surroundioes which constitute the area in which a son lives are included in hi., men- tality. His thinking determines the condition of his house. As his thoughts become purified and up- lifted through a conscious at -one - wont with good. God, then an 1/11- prov(1 concept of twine will he mandested. A A A Let each ask himself: "Where do dwell? Where are my thoughts resting, on flesh or on Spirit, on death or on Life, on evil or on good? Am I consciously living with the Christ, that is, with an intelli- gence apart from matter? Am 1 in OW 1111111'1y of materiality or among the i Hite; of God's grace?" The Mash,' committed his life In (;titi his Tercel He trusted this Parent ooptaitly to care 111r each human neigh Though Jesus had nr;tl,tielly, net because of the eel v absence of reliance on matter, he was free to live in Spirit. The flesh, or matter, weighs against Spirit, and 10 be released from dependence no matter even in a measure Is to be abundantly rewarded by additional signs of Love's provision for all of its be- loved children. A A A The writer has spent many years in different countries - traveling by ship and plane, living in houses and apartments. He has observed evidences of this divine law. namely, that whenever his thought dwelt on God's supremacy in earth as in heaven, the human require- ment of a place to stay was quickly and fully met. He has noted, too, that with a gradually improved concept of this law has come a permanent sense of home. Mrs. Eddy writes in "Pulpit and Press" (p. 3), "Our surety Is in our con- fidence that we are indeed dwellers in Truth and Love, man's eternal mansion." nyu' Srwet. WI Inw".. By Briehara Hepp, firth ill wri.d I I II hi l id inlit Tr, the field of 411 !1., :-.111jaI Ld parlicularlt. rote,' lot their skill in sr kilolitre The e.it hest -irillptors tended 11'41.0 41)0141 I arid 1111rilf.,.:11111 .1).1\4 51,/.1 1111111,..)...1 rotr1.11 .11, 1,1110 .1 hodiliati. This Cann, Wt. Ina n a good deal about Sumerian appearance and dress The men either were clean shaven or wore long heards and long haI parted in the middle The most com- mon form of dress was a kind of niairieed skirt. over which long Iit ill, .K.1: iiiok