What to see this week

Country Life Every Week - - Athena -

Be­com­ing Henry Moore is at Henry Moore Stu­dios & Gar­dens, Perry Green, Much Had­ham, Hert­ford­shire, un­til Oc­to­ber 22 (01279 843333; www.henry-moore.org) Cel­e­brat­ing the 40th an­niver­sary of the Henry Moore Foun­da­tion, this is the first ex­hi­bi­tion to look at Moore’s early years as an artist and in­cludes his first ever com­mis­sions, as well as works by sculp­tors such as Pi­casso, Ep­stein, Brân­cusi and Rodin, who had a for­ma­tive in­flu­ence on his de­vel­op­ment from 1914 to 1930. The show also marks the un­veil­ing of a new vis­i­tor cen­tre and ar­chive at the re­de­vel­oped stu­dio and gar­dens of Perry Green, on the site of Moore’s for­mer stu­dio.

Ge­orge Rickey: Sculp­ture from the Es­tate

is at Marl­bor­ough Fine Art, 6, Albe­marle Street, London W1, April 21–May 20 (020–7629 5161; www.marl­bor­oughlon­don.com) Six­teen pieces by Ge­orge Rickey (1907–2002), who pi­o­neered ki­netic sculp­ture with Alexan­der Calder in the 1950s. Although best known for his mon­u­men­tal out­door works, he also made these smaller in­door sculp­tures—mostly of steel, some­times with ap­plied paint—that will as­ton­ish for the beauty of their move­ment and bal­ance. The ac­com­pa­ny­ing cat­a­logue in­cludes an es­say by Rickey.

Diar­muid Kel­ley: Akzi­denz-grotesk is at Of­fer Water­man, 17, St Ge­orge Street, London W1, April 21–May 16 (www.water­man.co.uk; 020–7042 323) New works—stud­ies of fig­ures, in­te­ri­ors and still-lifes—by the cel­e­brated por­traitist, whose fas­ci­na­tion with the the­atri­cal qual­i­ties of paint­ing is shown in the way he or­ches­trates the ‘stage’ and light­ing of his com­po­si­tions and im­bues even an as­sem­blage of ephemeral ob­jects with the hint of a nar­ra­tive.

Lu­cian Freud: Early Works This new dis­play, on show at Pal­lant House Gallery, Chich­ester un­til Oc­to­ber 1 (01243 774557; www.pal­lant.org.uk), fo­cuses on a small se­lec­tion of Freud’s early works dat­ing from the late 1930s and early 1940s. Cen­tring around three new long-term loans to the gallery—in­clud­ing Por­trait of a Girl (1950), right—they re­veal some of the themes that would pre­oc­cupy the artist through his life, such as a fas­ci­na­tion with paint­ing por­traits of fam­ily and friends—‘i would sit very close and stare. It could be un­com­fort­able for both of us,’ he said—and the sym­bolic use of ev­ery­day and botan­i­cal ob­jects. The se­lec­tion shows Freud work­ing in a range of ma­te­ri­als dur­ing these for­ma­tive years.

Freud’s in­ti­mate oil on cop­per por­trait of Anne Dunn, 1950

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.