Green Ted
YSP was the main purpose of our trip to Yorkshire. It is part of the "Yorkshire Sculpture Triangle" which, curiously, has four components: YSP, The Hepworth gallery, Leeds Art Gallery and the Henry Moore Institute. We only had time for the first two and will return for the rest (plus cathedral(s)).
The pieces are usually shown in the order in which they were seen and photographed.
A Tree in the Wood, Giuseppe Penone
A Tree in the Wood, Giuseppe Penone
Yorkshire Sculpture Park (YSP)
6th July 2018, 11:23
Fuji X-M1, 16-50 @ 17mm (25mm)
1/100 sec; f/11; ISO 200
Cat. 4,350
This is (I think) one piece in Penone's exhibition A Tree in the Wood rather than the name of this particular work. He specialises in wood-based sculptures, but we didn't notice any others in the Park or visit the indoor exhibition. Quote from Wikipedia.
Giuseppe Penone (born 3 April 1947) is an Italian artist. Penone started working professionally in 1968 in the Garessio forest, near where he was born. He is the younger member of the Italian movement named "Arte Povera", a term that was coined by Germano Celant. Penone's work is concerned with establishing a contact between man and nature. He still actively produces new work. His sculptures, installations and drawings have always been distinguished by his radical choice of unconventional materials and use of processes that are an integral part of his work. Each work reaches completion through the assimilation of its actions to those of the natural elements and grows out of reflection that adhere closely to the concrete, visual, tactile and olfactory qualities of the materials, explored by the artistic ways that bring out their magical and fantastic groundwork.
The tree, a living organism, in appearance so closely resembling the human figure, is a central element in Penone's work. Many of the procedures he adopts in the creation of his works are based on the act of relating different entities and forces, hence on traces or memories of the contacts between them.
In Penone's work, above all its more recent developments, the opposed concepts of identità ("identity") and identicità ("analogy") are assimilated according to a logic that is not extraneous to the Italian language, as in other European languages in which the two cognate words share the same etymon. The assimilation is shown in the process by which the artist emphasizes similar behaviors that belong to different entities by fossilizing them in a form. As a result, images are created that are capable of making the thoughts and imagination of those who observe them flow from one material to another, from one subject to another, from an animal body to a vegetable or mineral body. wikipedia
Upright Motives No. 1 and Glenkiln Cross Nos. 2 and 7, Henry Moore
Upright Motives No. 1 and Glenkiln Cross Nos. 2 and 7, Henry Moore
YSP
6th July 2018, 11:23
Fuji X-M1, 16-50 @ 17mm (25mm)
1/100 sec; f/11; ISO 200
Cat. 4,360-62
Quote from YSP.
The Upright Motives were part of a large commission, for the courtyard of the new Olivetti building in Milan. Moore stated that “my immediate thought was that any sculpture that I should do must be in contrast to this horizontal rhythm. It needed some vertical form in fornt of it. At the time I also wanted to have a change from the Reclining Figure theme that I had returned to so often.”
Altogether Moore created twelve Upright Motives in the mid 1950s. The sculpture which developed a primitive cruciform head later became known as the Glenkiln Cross, after a farm on a private estate in Scotland where the first cast of the work was sited. In their powerful symbolism these pieces owe much to the tall, upright stones, known as menhirs, from prehistoric times. Moore brought all these influences together to create forms which are unmistakably his own. ysp.org.uk
Reclining Connected Forms, Henry Moore
Reclining Connected Forms, Henry Moore
YSP
6th July 2018, 11:33
Fuji X-M1, 16-50 @ 16mm (24mm)
1/280 sec; f/8; ISO 200
Cat. 4,370-71
The two previous pieces are just visible in the distance. Quote from YSP
Reclining Figure: Hand (1979) is immediately identifiable as a human form despite its modulated stylization; the softly rounded, cloud-like body attests to Moore’s more exploratory impulses. Moore’s large-scale sculptures celebrated the beauty and power of organic forms at a time when traditional representation was largely eschewed by the vanguard art establishment. Their prodigious size and forceful presence have an overwhelming physicality that promotes a charged relation between sculpture, site, and viewer. ysp.org.uk
Reclining Figure: Hand, Henry Moore
Reclining Figure: Hand, Henry Moore
YSP
6th July 2018, 11:37
Fuji X-M1, 16-50 @ 16mm (24mm)
1/350 sec; f/8; ISO 200
Cat. 4,380-82
Quote from YSP, a repeat of the above.
Reclining Figure: Hand (1979) is immediately identifiable as a human form despite its modulated stylization; the softly rounded, cloud-like body attests to Moore’s more exploratory impulses. ysp.org.uk