Step inside the Barbara Hepworth Museum and Sculpture Garden

Step inside the Barbara Hepworth Museum and Sculpture Garden | Tate

1)
To get to the Barbara Hepworth Museum, you must go through small coupled streets, characteristic of the town centre.

When you enter the Barbara Hepworth Museum, you have no idea what you'll see inside, and then go out into the garden. The garden is the most extraordinary place. It's a wild garden, so you never know it's there when you're outside in the streets sometimes, and it's like an oasis.

2)
She acquired the garden in 1949 at auction, and at that point, it was a formal garden with very geometrically shaped beds with roses.

By the end of her time there, she transformed the garden into a natural, informal garden, so we can see from her gardening style that the natural world, ecology, and ecosystems greatly influenced her.

3)
The garden is much more kind of embedded now in her time. It was a working garden where she made sculptures and created works of art.

It was where she made sculptures and sold them. We try to keep the same atmosphere, feeling, and lines of sight she had through the garden in Cornwall.

4)
It is a unique environment; the sea stays warm in the winter, the sea stays at 10 degrees, keeping our air temperature warm, and we can grow many unusual plants. She came from Wakefield in Yorkshire and took full advantage of our maritime climate.

Predominantly, evergreen shrubs create a foil to the sculptures and don't take too much attention away from them.

5)
She didn't want a garden full of unique, colourful flowers. I think she was trying to create a relaxing sort of contemplative atmosphere and not take too much attention away from the sculptures; the sculptures are the main feature.

6)
When people enter Hepworth, they start downstairs, her kitchen and dining room.
This was her home from 1950-'51. There's a timeline with pictures and information about her life.

Then they can go up to what was her living room and her studio and then the garden, and all of these spaces provoke questions and discussions, and the same with the pieces with the artwork. Each one has a story.

7)
There's the baby. There's a carved wooden piece of her first baby, Paul, and it's beautiful. It's strong, and it's tender. She was a working mother and loved her family, which comes through very strongly in much of her work.

8)
When Barbara Hepworth first came, it was a rainy day, and she didn't like it, but then the sun came out, and she saw the light.

It's fantastic, it's so beautiful every day it's different, and you can see that in the paintings and the sculptures that the artists have done and then it highlights things, and it gives you effects, and it gives you shadows, and it tells you stories as well.

9)
The Hepworth estate wanted the studio and the garden to remain as they were. Almost to the day she died, you'll see tables with all her tools laid out, showing how she would pick up a particular tool depending on what she would make.

There's a sense that she was in the middle of a sculpture; there were pieces of stone, plaster, and things that she was about to work on. It's not frozen in time because it feels very much alive, mainly because of the garden.

10)
Still, it's an exceptional experience because you understand what living and working there might have been like as an artist.

People are very interested in how the bronzes were made and how she made the plaster.

They were then sent to the foundry and cast in bronze, and there's one maquette in her workshop, and it had been plastered.

11)
It was ready to go away to be released in bronze, but it was the debt just before she died, and so it's there, it's still there, it was never sent to the foundry, and it's just a beautiful reminder of one of her works.

Step inside the Barbara Hepworth Museum and Sculpture Garden | Tate

https://www.youtube.com/watch?v=fP-w22KmAN4

Explore the work of Barbara Hepworth through her home, studio, and garden.
Barbara Hepworth first came to live in Cornwall with her husband and their young family at the outbreak of war in 1939, living and working in Trewyn studios – now the Barbara Hepworth Museum – from 1949 until her death.

Following her wish to establish her home and studio as a museum of her work, Trewyn Studio and much of the artist's
The remaining work there was given to the nation and placed in the care of the Tate Gallery in 1980.
'Finding Trewyn Studio was a sort of magic', wrote Hepworth. 'Here was a studio, a yard and garden where I could work in open air and space'.

Explore Barbara Hepworth through her home, studio and garden
Barbara Hepworth first came to live in Cornwall with her husband, Ben Nicholson, and their young family at the outbreak of war in 1939. She lived and worked in Trewyn studios – now the Barbara Hepworth Museum – from 1949 until she died in 1975.

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Barbara Hepworth 1903–1975

https://nmwa.org/art/artists/barbara-hepworth/

Hepworth discovered her passion for sculpture as a young child. She entered the Leeds School of Art in 1920 and began a lifelong friendship with fellow student Henry Moore. She was admitted to the Royal College of Art in London a year later.

During a postgraduate fellowship in Italy, Hepworth worked with master stone carvers and met the British sculptor John Skeaping, whom she later married. Back in London, Hepworth was part of a group of avant-garde sculptors dedicated to exploring abstraction. Her early work featured simplified, naturalistic forms, but she increasingly focused on formal issues. By the early 1930s, Hepworth was producing purely abstract work.

A sensual kind of organic abstraction characterised her mature style. Hepworth had an excellent sensibility for her materials and typically practised direct carving. She sometimes incorporated strings, wires and coloured paint into her sculptures. She was fascinated by the play between mass and space, and her approach created a tension between an open, interior space and the material group surrounding it.

In 1931, Hepworth and Skeaping divorced; two years later, she married the English avant-garde painter Ben Nicholson, with whom she lived and worked for the next two decades.

During the 1950s, Hepworth's reputation grew exponentially: her work was included in the Venice Biennale and won first prize at the São Paolo Biennale; she was made a Commander of the Order of the British Empire in 1958 and later knighted a Dame in 1965.

Hepworth truly lived out her lifelong conviction: "A sculpture should be an act of praise, an enduring expression of the divine spirit".

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Barbara Hepworth - Wikipedia

https://en.wikipedia.org/wiki/Barbara_Hepworth

Dame Jocelyn Barbara Hepworth DBE (10 January 1903 – 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and, in particular, modern sculpture. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the Second World War.

Born in Wakefield, Yorkshire, Hepworth studied at Leeds School of Art and the Royal College of Art in the 1920s. She married the sculptor John Skeaping in 1925. 1931, she fell in love with the painter Ben Nicholson, and in 1933, she divorced Skeaping. At this time, she was part of a circle of modern artists centred on Hampstead, London, and was one of the founders of the art movement Unit One.

At the beginning of the Second World War, Hepworth and Nicholson moved to St Ives, Cornwall, where she would remain. Best known as a sculptor, Hepworth also produced drawings and lithographs, including sketches of operating rooms following her daughter's hospitalisation in 1944. She died in a fire at her studio in 1975.

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Barbara Hepworth (British 1903-1975) - "Two Shapes" 1968

https://www.hakone-oam.or.jp/permanent/?id=11335226&entry=11280112

In Hakone Open-air Museum in Japan.
Hepworth says that "Two Shapes" "represents the tender relationship between one living creature and another when they are near each other.'' Although it is an abstract composition, this work feels like two people standing close together. The right amount of tension and gentle air flows between the two shapes, bordered by soft curves. The hole built at the top penetrates to the back and blends into the landscape. The spots are painted to suggest a more bottomless ocean or sky than the hollow itself.

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Fifteen recommended gardens in Kyoto! Enjoy the beauty of Japanese culture!

https://www.asoview.com/note/706/?page=3

Genkoan (Takamine Mountain Treasure Forest Genkoan) was founded in 1346 by Tetsuo Kokushi, the second head of the Rinzai sect of Daitokuji Temple. The dry landscape garden behind the main hall, built about 300 years ago, borrows the view of Mt. Kitayama, and the beauty of the red leaves in autumn is guaranteed.

The corner window in the main hall, "The Window of Loss," symbolises human life and expresses the four hardships of life, illness, and death. The circle in the round window, "Window of Enlightenment", represents Zen, the heart of Entsu, and the macrocosm. It is said that by asking yourself questions in front of the corner window and reconsidering yourself in front of the round window, you can be reborn as who you are. From the windows, you can see the beauty of Japan in each season, from fresh greenery to autumn leaves to snowy scenery.