Elisabeth frink
The drawing was among the 78 drawings, watercolours and prints by the current Royal Academicians presented as a Silver Jubilee gift to The Queen on 24 November 1977. This resemblance is exaggerated here by the flattening of the horse’s head as the artist ran out of space towards the left edge of the sheet. In the finest of the individual horse studies, towards the end of the sequence, Frink eliminated descriptive variations of tone in the wash to give a purity of form reminiscent of classical Chinese art. These developed out of a set of lithographs of men and horses of 1970-71, in which the harsh contours and shading of the men, typical of Frink’s work of the 1960s, contrasted with a new fluency and softness in the outlines of the horse.įrink’s sculptures always used rough surface textures as a counterpoint to their simplified forms, but her graphic work was often more delicate.
#ELISABETH FRINK SERIES#
This sheet is one of an extensive series of drawings, prints and sculptures of lying and rolling horses, executed between 19. The etching aquatints illustrating Chaucers Canterbury Tales are from one of 175 unbound sets signed by the artist from 1972. Success for our clients hinges on our ability to offer a level of focused marketing effort that our competitors don’t, notably touring highlights of our sales round the country to the nation’s art capitals of London and Edinburgh.The horse was one of the handful of themes that recurred throughout Elisabeth Frink’s work, sometimes with a standing man or a rider (she was herself a keen equestrian), more often as an isolated motif, the whole creature or just the head. This area continues to lead the UK art market and is going from strength to strength. These Modern British art auctions feature works from the likes of Walter Sickert and the Camden Town Group to Terry Frost and the St Ives School, we also handle selected works by all of 20th century Europe’s major figures and movements. Lyon & Turnbull are delighted to offer several auctions a year across the UK featuring to Modern British painting, sculpture, prints and drawings - including MODERN MADE in London. MODERN MADE: Modern British Art & Post-War Art Design 30th April 2021 | London We would like to thank the Estate of Elizabeth Frink for their assistance in cataloguing the current work. Most Similar Prints and drawing England 19301993 Related artworks. Most Similar Prints and drawing England 19301993 More More options. Artworks See all 2 artworks Bird Man, 1961 Elisabeth Frink Horse and Rider VI, n.d. This work has been registered with the Estate of the Artist and will be included in any future catalogue raisonné. Also known as Elizabeth Frink, Dame Elisabeth Frink Date of birth 1930 Date of death 1993. Frink was subverting the natural order by reverting the age-long tradition of the artistic male gaze on the female form.
Warriors, sentinels, and helmeted heads inhabit Frink’s oeuvre in the late 1950s into the 1960s, using the male form as an instrument to express both aggression and vulnerability, starkly contrasting to the traditional notion of man as the ideal hero. Out of the war a new generation of sculptors had grown, the ‘Geometry of Fear’ group, which included Lynn Chadwick, Kenneth Armitage, Eduardo Paolozzi and Reg Butler – all of whom were concerned with the post-war condition of the human form, and it is within this context that her work Sentinel sits. Her parents were Ralph Cuyler Frink and Jean Elisabeth (née Conway-Gordon). LOT 180 | § DAME ELISABETH FRINK (BRITISH 1930-1993) | SENTINEL III, CIRCA 1960 signed, bronze, unique edition | 68cm high, 18.5cm wide (26.75in, 7.25in wide) | Sold for £30,000 incl premium Provenance: Private Collection, UK from the 1960s and by descent. 1930-1993 Elisabeth Frink was born in November 1930 at her paternal grandparents home The Grange in Great Thurlow, a village and civil parish in the St Edmundsbury district of Suffolk, England. Drawn to the male figure, yet equality repulsed by it she stated ‘I have focussed on the male, because to me he is a subtle combination of sensuality and strength with vulnerability’. Having come from a younger generation so heavily smarted by the Second World War, she saw men’s nature as a root cause of war and the atrocities of warfare.
The male form was at the core of Elisabeth Frink’s sculptural practice.