Background: Barbara was born in Wakefield, in Great Britain. Her father was a civil engineer with the County Council.
Training: Barbara attended a Girls' High school, where she excelled in music.
She won a scholarship to Leeds School of Art in 1920. While at the Leeds School of Art, Barbara began a lifelong friendship with fellow student Henry Moore, who also became an internationally renowned sculptor.
A year later, she won a scholarship to the Royal College of Art in London; she was awarded a diploma in 1924.
While on a postgraduate fellowship in Italy, Hepworth learned to carve marble with master stone carvers.
Private life: While in Italy, Barbara met British sculptor John Skeaping and traveled with him to Siena and Rome. They were married in Florence, in 1925. In 1929, Barbara gave birth to their son Paul in London. In 1931, Barbara and Paul divorced.
Ben Nicholson |
In 1934, Barbara and Ben had triplets. Barbara's son Paul from her previous marriage would have been about 5 years old. That means Barbara was raising children while she was making sculpture through the 1930s, when she was in her 30s.
In 1939, when WWII broke out, Barbara and Ben moved their family to St. Ives, on the far southeast coast of England. After the war, they became the hub for the next generation of artists in that area. Barbara lived in St. Ives for the rest of her life.
In 1951, Barbara and Ben divorced.
In 1953, Barbara's eldest son was killed in a plane crash while serving in the Royal Air Force in Thailand.
In the 1960s, Barbara's health began to break down, curtailing her work.
In 1975, Barbara died in a fire at her studio at the age of 72.
Barbara Hepworth in 1963 |
Early in her career, Barbara innovated an approach known as direct carving; instead of modeling a maquette from clay, and copying that in stone, Barbara attacked the stone directly, and let its qualities guide her search for form. Over the years, Barbara also worked in wood, and in the 1950s she began using bronze, which has the advantage that copies can be made. She sometimes incorporated strings, wires, and colored paint into her sculptures.
The peak of Barbara's productivity and popularity was in the 1950s. In the 1960s, her health began to fail, and she worked on smaller pieces.
Pendour, 1948 Hirshhorn Photo by Dan L. Smith, 2006 |
Pastorale, 1953 Kröller-Müller / Jan's photo, 2015 |
Torso I (Ulysses), 1958 Hirshhorn / Jan's photo, 2010 |
Talisman, 1959 Wadsworth Atheneum / Jan's photo, 2013 |
Figure for Landscape, 1960 Getty / Jan's photo, 2014 |
Figure for Landscape, 1960 Dallas / Jan's photo, 2012 |
Squares with Two Circles, 1963 Nasher / Jan's photo, 2012 |
Sea Form (Atlantic), 1964 Dallas / Jan's photo, 2012 |
Opposite side of Sea Form (Atlantic), 1964 Dallas / Jan's photo, 2012 |
Contrapuntal Forms (Mycenae), 1965 Dallas / Jan's photo |
Dual Form, 1965 Kröller-Müller / one of 7 casts Photo by Dan L. Smith, 2015 |
Dual Form, 1965 Portland, OR / Jan's photo, 2017 One of seven casts. |
Squares with two circles, 1963-1964 Kröller-Müller Photo by Dan L. Smith |
Spring 1966, 1966 LACMA / Jan's photo, 2015 |
Oval Form with Strings and Color, 1966 Metropolitan / Jan's photo, 2012 |