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antiphon.html
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<html>
<head>
<title>Antiphon</title>
</head>
<body bgcolor="#ffffff" link="#555555" vlink="#000000" alink="#000000">
<h1><a href="index.html"><img src="folklore-icon.gif" alt="Folklore" align="bottom" width="31" height="33"></a>
Antiphon</h1>
<p>One of the more restrained sculptures on campus stands next to the Concert
Hall. Most people will have walked past it on the way from Vanbrugh to
town. This article about it is taken from the February 1996 issue of the
<i>University Magazine</i>:</p>
<blockquote>
<p><strong>Antiphon</strong><br>
by BARBARA HEPWORTH</p>
<p>``In all arts let us become pure spirits, not only liberators, but
necessarily and above all liberated'' (<i>English Art and Modernism
1900-1939</i> by Barbara Hepworth)</p>
<p>Barbara Hepworth's desire to liberate sculptural form was
attempted through such notions as the `spiritual inner life',
a manifestation of living things both according to doctrines of
vitalism. <i>Antiphon</i> addresses both a modernist standpoint
in sculpture whilst at the same time conforms to Matisse's
concept of art as ``a soothing, calming influence on the
mind, something like a good armchair which provides relaxation from
physical fatigue.''</p>
<p><i>Antiphon</i> illustrates Hepworth's interest in biomorphism
with its investigations of inner and outer forms. Hollows
convey the three dimensional quality of the actual space
the sculpture occupies. Hepworth rejected the traditions of
Western art which drew from elitest literary or
mythological sources, and advocated that inspiration for
scuplture should come from the forms to be found in
nature. <i>Antiphon</i> represents this in that it is asymmetric yet
stable, whole and contained. It provides more than just a
shrewd account of our experiences as living beings in
relation to our environment, aesthetically, it works.</p>
<p><strong>Sally Casebourne</strong><br>
Department of History of Art</p>
</blockquote>
<p>Photo caption:</p>
<blockquote>
<i>Antiphon</i>, by Barbara Hepworth (bronze, 1969) can be found on the
University Campus next to the Sir Jack Lyons Concert Hall. Like Henry Moore,
Hepworth acknowledged that their choice of vocation and style of work was
heavily influenced by the Yorkshire landscape with its isolated outcrops
of stone and wild moorland rising starkly above dark industrial valleys.
</blockquote>
<p>Block text:</p>
<blockquote>
Born in Wakefield, West Yorkshire, BARBARA HEPWORTH won a scholarship to
Leeds School of Art in 1920 where she studied art alongside Henry Moore.
In 1928 she settled in Hampstead, then a mecca for artists, writers and
intellectuals, where she lived and worked in the Mall Studios. During the
war, she and her children evacuated to St Ives with her second husband,
sculptor Ben Nicholson. St Ives was an important artists' colony, and at
that time was atttracting many leading abstract painters who wanted to break
away from conventional modes of representation. Later she bought the
Trewyn Studios and continued to live and work there until her death in 1975.
</blockquote>
<p>The statue was purchased as a result of the generosity of Barbara
Hepworth and of Sir William Crosthwaite.</p>
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</blockquote>
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