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Lot Essay
“A figure of enormous stature, a significant standard bearer in the remarkable story of British sculpture since the war” (“Lynn Chadwick Obituary,” The Telegraph, 26 April 2003). Lynn Chadwick had by the early 1970s returned to portraying the human form after time spent over the previous decade pursuing sculptural minimalism, nonrepresentational pieces, and assemblage works. Pair of Sitting Figures IV is an exemplary example of the instantly recognizable sculptures that Chadwick completed during this phase of his career; idiosyncratic in form, but universal in accessibility, Pair of Sitting Figures IV is a portrayal of a couple that is by turns charming, wistful, mysterious, poignant, delightful and enigmatic. The captivating two-part bronze piece depicts a male and a female seated in easygoing, casual repose. Immediately evident are the blank faces of each of the forms, rendered in highly polished bronze, set in dramatic contrast against the darker bronze of the sculpture overall. The lack of facial features and expressions has the effect of drawing the viewers’ attention to the postures and carriage of the figures, their demeanors expressing personality, mood and attitude that in a more conventional work would be provided by facial expression. Simplified yet eloquent forms, built upon drastically reduced geometric shapes; these are central motifs of Chadwick’s art.
Triangles and rectangles recur in Chadwick’s sculptures, symbols for woman and man, respectively, as here in Pair of Sitting Figures IV. Chadwick observed that artists have long employed the triangle to draw the basic contours of humans and animal forms. Indeed, an essential motif of Chadwick’s was the use of triangles to construct his figures, as evident here. The strong, straight, angular lines of Sitting Figures IV attest to Chadwick’s early career as an architectural draftsman. The artist chose not to offer explanation or commentary about his art, thus freeing viewers to react as they wished, letting their thoughts, imagination and interpretations roam. The bearing of this couple and their amiable interaction (the relaxed attitude as expressed by their open arms and outward-facing presentation) are so engaging that they truly do convey Chadwick’s intent to the viewer, without resort to imposing meaning from outside the work itself. The artist’s choice of couples as subject—the most essential social unit in human culture—gave him an opportunity to depict both the simple joys that couples experience, and to explore—and express to the viewer—the complex psychology to be found within every relationship.
Triangles and rectangles recur in Chadwick’s sculptures, symbols for woman and man, respectively, as here in Pair of Sitting Figures IV. Chadwick observed that artists have long employed the triangle to draw the basic contours of humans and animal forms. Indeed, an essential motif of Chadwick’s was the use of triangles to construct his figures, as evident here. The strong, straight, angular lines of Sitting Figures IV attest to Chadwick’s early career as an architectural draftsman. The artist chose not to offer explanation or commentary about his art, thus freeing viewers to react as they wished, letting their thoughts, imagination and interpretations roam. The bearing of this couple and their amiable interaction (the relaxed attitude as expressed by their open arms and outward-facing presentation) are so engaging that they truly do convey Chadwick’s intent to the viewer, without resort to imposing meaning from outside the work itself. The artist’s choice of couples as subject—the most essential social unit in human culture—gave him an opportunity to depict both the simple joys that couples experience, and to explore—and express to the viewer—the complex psychology to be found within every relationship.