Lynn Chadwick

Estate of the artist
Private Collection, Americas (acquired after 2004)

Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1988, Oxford, 1990, no. C65, illustration of another cast p. 333
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Stroud, 1997, no. C65, illustration of another cast p. 373
Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Aldershot, 2006, no. C65, illustration of another cast p. 381
Judith Collins & David Finn, The Collection at Lypiatt Park, Lynn Chadwick, New York, 2006, illustrations of other casts pp. 212-17

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Motion amidst stagnation was of primary interest to Chadwick, who combatted statis by using geometry to create tension. Even for seemingly inert subjects, such as the present work, Chadwick imbued movement with the slight tilt of the girl’s foot and the converging vertical lines leading to her triangular head, a stylization Chadwick used for his female heads by the 1970s.

Collette Chattopadhay writes of the lyrical potency of the artist's works of this period: "A new fondness for naturalism begins to appear in Chadwick's work which endows his geometric figures with a startling anthropomorphic credibility. The angle at which a geometric head tilts, or the manner in which a cubic torso leans forward or sideways, imbues these robotic creatures with an uncanny familiarity. Indeed, Chadwick's propensity for infusing cubic figures with ironic, anthropomorphic allusions remains one of his supreme artistic accomplishments, vying with and at times surpassing Picasso's explorations in these areas... Exploring the relation between stasis and movement, solid form and space, Chadwick's late works of the '80s and '90s continue to explore the nature of collective social identity while manifesting affection for the female torso, which is increasingly naturalistically portrayed" (Collette Chattopadhay, Lynn Chadwick (exhibition catalogue), Tasende Gallery, Los Angeles, 2002, p. 7).