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Lynn ChadwickWatcher VI - 20th Century, Bronze, Sculpture by Lynn Chadwick1961
1961
About the Item
Cast at Burleighfield in 1986.
Signed, dated and numbered from the edition of 8 casts. Stamped with the Burleighfield foundry mark.
Watcher VI (1961) was conceived in the same year that Chadwick began work on the group of three monumental Watchers, a cast of which was sited in Roehampton, overlooking the modernist architecture of the Alton Estate, by the London County Council in 1963. Like them, it inhabits a rectangular profile, upright and self-contained. Yet within this simplicity of profile there is abundant detail, subtly reinforcing the stance: no plane is left unconsidered. The head bears traces of horizontal seams, layered as a dry-stone wall. The torso is articulated with diamond facets. This particular Watcher twists its head, slightly: a receptor stilled in observation.
- Creator:Lynn Chadwick (1914-2003, British)
- Creation Year:1961
- Dimensions:Height: 37.41 in (95 cm)Width: 13.78 in (35 cm)Depth: 11.82 in (30 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU30010670102
Lynn Chadwick
Lynn Chadwick was an English sculptor and artist. Much of his work is semi-abstract sculpture in bronze or steel. His work is in the collections of MoMA in New York, the Tate in London and the Centre Georges Pompidou in Paris. Chadwick was born in the suburb of Barnes, in western London, and attended Merchant Taylors' School in Northwood. While there, he expressed an interest in being an artist, though his art master suggested architecture was a more realistic option. Accordingly, Chadwick became a trainee draughtsman, working first at the offices of architects Donald Hamilton and then Eugen Carl Kauffman, and finally for Rodney Thomas. Chadwick took great inspiration from Thomas, whose interest in contemporary European architecture and design had a significant effect on his development. His training in architectural drawing was the only formal education he received as an artist. He recalled, "What it taught me was how to compose things, a formal exercise in composition it has nothing to do with the building it represents."
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