Morgan, Elin Jane (2012)
M.Phil. thesis, University of Birmingham.
This thesis explores the studio practice of Jacob Epstein (1880-1959), via an examination of selected contemporaneous photographs of the sculptor and his studio, and a selection of his sculptural fragments. Whilst the photographs purport to ‘document’ Epstein’s work in the studio, more accurately the images reveal a partial, highly constructed projection of Epstein’s self-image. In contrast, the sculpted fragments, not only function as indexes of the sculptor’s creative process, but also open up multiple lines of enquiry regarding Epstein’s approach to sculpture. Additionally, the juxtaposition of two disparate sources – photographs and part-objects – which, despite their crucial differences, lend themselves to a discussion of Epstein’s studio practice, also provokes discussion of Epstein’s convergence and departure from many of his contemporaries. ‘The studio’ was central to the conceptualisation of ‘the modernist sculptor.’ Geoffrey Ireland’s photographs of Epstein align with the modernist preoccupation with sculptural process and indexicality, and present Epstein as an archetypal modernist sculptor. ‘The fragment’ was also a central preoccupation for modernist sculptors. Whilst the examination of the photographs aligns Epstein with his contemporaries, discussion of his fragments reveals his departure. Epstein’s figurative part-objects predominantly relate to full sculptures and are reflective of his working method, art education, deference to Rodin and veneration of ancient sculpture.
|Type of Work:||M.Phil. thesis.|
|School/Faculty:||Colleges (2008 onwards) > College of Arts & Law|
|Department:||Department of Art History, School of Languages, Cultures, Art History and Music|
|Subjects:||AM Museums (General). Collectors and collecting (General)|
|Institution:||University of Birmingham|
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