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拍品专文
Initially titled Statuette Dancer, Eric Gill’s small-scale female figure was carved between April and September 1913 for Gill’s own pleasure, and is recorded as ‘Job 500’ in the artist’s ledger. With a confident and rhythmic stance, the semi-naked female depicted in the present work demonstrates Gill’s early interest in direct carving methods and the representation of the nude as subject matter, which followed his first figurative carving four years earlier.
Gill’s mastery and passion for direct stone carving originated from his early masonry training working primarily with reliefs and letter cutting. In discussing his process he stated, “Stone carving properly speaking isn’t just doing things in stone or turning things into stone, a sort of petrifying process; stone carving is conceiving things in stone and conceiving them as made by carving. They are not only being born but conceived in stone; they are stone in their innermost as well as their outermost existence” (M. Yorke, Eric Gill: Man of Flesh and Spirit, London, 1981, p. 194). While completing several commissions, including the fourteen large panels for Westminster Cathedral, Gill would experiment with form and surface by creating small sculptures such as Dancer. The artist’s ledgers document this development: revealing that Gill not only created a plasticine model in-between carving the present work (presumably as an aid), but also broke the figure up after having little stone left to carve the head just six days before its completion.
Though small in scale the present work expresses both a power and sensuality of the female form. The extended arm poised dramatically on the dancer’s leg commands a sense of self-assuredness, while the other reaches up, framing her tilted head and exposing her body to her audience. Additional carved lines of drapery around the dancer’s waist and legs closely follow her form.
With this approach, Gill’s contribution to figurative sculpture revitalised the perception of the nude. In rejecting the naturalistic and sentimental portrayals, Gill’s sculptures instead depict the female body with a sense of directed eroticism, incorporating long flowing hair and bare, voluptuous curves. This candid celebration of the human form stemmed from Gill’s introduction to artists such as Auguste Rodin and Paul Gauguin (who had parted from decorative and representational methods of working), as well as the influence of Indian philosopher Ananda Coomaraswamy. Under Coomaraswamy’s guidance, Gill’s understanding of Asian art, particularly Indian temple sculpture, became a recognisable influence throughout his oeuvre due to its dominant religious and philosophical themes. Malcolm Yorke remarks, ‘…Gill’s sole pre-occupation as an artist is with the human figure. This is not unusual of course, especially for a sculptor. Where Gill differs from, say, Henry Moore, or Giacommetti or Zadkine, or Chadwick, is that the sexuality of the figures he creates in line or stone provokes the looker to remember his or her own sexuality in a very direct way too’ (M. Yorke, op cit., p. 99).
Dancer was first exhibited in 1914 at London’s Goupil Gallery where it was purchased by Augustus John on behalf of New York lawyer and avid art collector John Quinn for £31/10s. Quinn became an advocate of British and European artwork visiting the Chenil and Goupil Galleries to expand his collection. As such, he played an essential part in introducing many 20th Century art movements into American culture, funding the first Armoury Show in 1913.
Gill’s mastery and passion for direct stone carving originated from his early masonry training working primarily with reliefs and letter cutting. In discussing his process he stated, “Stone carving properly speaking isn’t just doing things in stone or turning things into stone, a sort of petrifying process; stone carving is conceiving things in stone and conceiving them as made by carving. They are not only being born but conceived in stone; they are stone in their innermost as well as their outermost existence” (M. Yorke, Eric Gill: Man of Flesh and Spirit, London, 1981, p. 194). While completing several commissions, including the fourteen large panels for Westminster Cathedral, Gill would experiment with form and surface by creating small sculptures such as Dancer. The artist’s ledgers document this development: revealing that Gill not only created a plasticine model in-between carving the present work (presumably as an aid), but also broke the figure up after having little stone left to carve the head just six days before its completion.
Though small in scale the present work expresses both a power and sensuality of the female form. The extended arm poised dramatically on the dancer’s leg commands a sense of self-assuredness, while the other reaches up, framing her tilted head and exposing her body to her audience. Additional carved lines of drapery around the dancer’s waist and legs closely follow her form.
With this approach, Gill’s contribution to figurative sculpture revitalised the perception of the nude. In rejecting the naturalistic and sentimental portrayals, Gill’s sculptures instead depict the female body with a sense of directed eroticism, incorporating long flowing hair and bare, voluptuous curves. This candid celebration of the human form stemmed from Gill’s introduction to artists such as Auguste Rodin and Paul Gauguin (who had parted from decorative and representational methods of working), as well as the influence of Indian philosopher Ananda Coomaraswamy. Under Coomaraswamy’s guidance, Gill’s understanding of Asian art, particularly Indian temple sculpture, became a recognisable influence throughout his oeuvre due to its dominant religious and philosophical themes. Malcolm Yorke remarks, ‘…Gill’s sole pre-occupation as an artist is with the human figure. This is not unusual of course, especially for a sculptor. Where Gill differs from, say, Henry Moore, or Giacommetti or Zadkine, or Chadwick, is that the sexuality of the figures he creates in line or stone provokes the looker to remember his or her own sexuality in a very direct way too’ (M. Yorke, op cit., p. 99).
Dancer was first exhibited in 1914 at London’s Goupil Gallery where it was purchased by Augustus John on behalf of New York lawyer and avid art collector John Quinn for £31/10s. Quinn became an advocate of British and European artwork visiting the Chenil and Goupil Galleries to expand his collection. As such, he played an essential part in introducing many 20th Century art movements into American culture, funding the first Armoury Show in 1913.