- Ceri Richards 1903–1971
- Ink and watercolour on paper
- Support: 268 x 384 mm
- Presented by the artist's widow 1976
T02056 THE SCULPTOR AND HIS OBJECT 1936
Inscribed ‘Ceri Richards 1936’, b.l.
Pen and ink and wash on paper, 11 1/4 × 15 5/8 (28.5 × 38.4)
Presented by Mrs Frances Richards 1976
Exh: Ceri Richards: Relief Constructions, Paintings and Drawings 1931–1939, Fischer Fine Art, February–March 1974 (38, repr.)
According to Frances Richards, for a period during the mid-1930s the artist thought of becoming a sculptor, as well as a painter. During this period (c. 1934–1938) he was associated with the English Surrealist movement, exhibiting with them and attending meetings at Sir Roland Penrose's house; in this connection he made, as well as reliefs, a number of surreal ‘objects’, or constructions in the round using metal, beads, cloth, wire, wood and other ‘found’ materials bearing some resemblance to the ones illustrated in these drawings. They were, according to Henry Moore, ‘very like sculpture’ but were destroyed by the artist when he moved to Cardiff during the war. Frances Richards comments that Ceri's temperament, somewhat impulsive and impatient, was probably not conducive to sculpture, and in later years he stuck largely to painting, drawing and reliefs.
Ceri Richards made several works on the twin themes of ‘The Sculptor and his Model’ and ‘The Sculptor and his Object’ at this period. These include, in addition to a number of drawings, a painted wood relief of 1936 and an oil of 1937 (coll. Mrs Frances Richards).
The Tate Gallery 1976-8: Illustrated Catalogue of Acquisitions, London 1979
- emotions, concepts and ideas(15,767)
- work and occupations(14,301)