Hubert Cyril Dalwood (2 June 1924 – 2 November 1976) was a British sculptor.
Investigation of potential copyright issue
Please note this is about the text of this Wikipedia article; it should not be taken to reflect on the subject of this article. Do not restore or edit the blanked content on this page until the issue is resolved by an administrator, copyright clerk or OTRS agent.
If you have just labeled this page as a potential copyright issue, please follow the instructions for filing at the bottom of the box.
The previous content of this page or section has been identified as posing a potential copyright issue, as a copy or modification of the text from the source(s) below, and is now listed on Wikipedia:Copyright problems (listing):
Unless the copyright status of the text on this page is clarified, the problematic text or the entire page may be deleted one week after the time of its listing.
Temporarily, the original posting is still accessible for viewing in the page history.
To confirm your permission, you can either display a notice to this effect at the site of original publication or send an e-mail from an address associated with the original publication to permissions-en at wikimedia dot org or a postal letter to the Wikimedia Foundation. These messages must explicitly permit use under CC-BY-SA and the GFDL. See Wikipedia:Donating copyrighted materials.
Note that articles on Wikipedia must be written from a neutral point of view and must be verifiable in published third-party sources; consider whether, copyright issues aside, your text is appropriate for inclusion in Wikipedia.
To demonstrate that this text is in the public domain, or is already under a license suitable for Wikipedia, click "Show".
Simply modifying copyrighted text is not sufficient to avoid copyright infringement—if the original copyright violation cannot be cleanly removed or the article reverted to a prior version, it is best to write the article from scratch. (See Wikipedia:Close paraphrasing.)
For license compliance, any content used from the original article must be properly attributed; if you use content from the original, please leave a note at the top of your rewrite saying as much. You may duplicate non-infringing text that you had contributed yourself.
It is always a good idea, if rewriting, to identify the point where the copyrighted content was imported to Wikipedia and to check to make sure that the contributor did not add content imported from other sources. When closing investigations, clerks and administrators may find other copyright problems than the one identified. If this material is in the proposed rewrite and cannot be easily removed, the rewrite may not be usable.
Hubert Dalwood (known as Nibs) was born in Bristol, England, and was described by the art critic Norbert Lynton as "one of the most original and inventive minds in the field of modern sculpture".
He progressed to become Head of the Sculpture Department at Hornsey College of Art, in 1966, where he stayed until 1973. He won a Churchill Scholarship in 1972, allowing him to visit India and the Far East, to further his studies of gardens and landscapes. His final move was to take him to the Central School of Art, where he was appointed Head of the Sculpture Department.
He was elected Associate of the Royal Academy of Arts on 30 April 1976.
On 2 November 1976, after a short illness, Dalwood died aged 52 in London. William Packer, the critic, and also a friend, called him "one of the best artists of his generation, a man who could have civilised and enlivened our cities and fired our imaginations."
Dalwood's primarily abstract sculptures of the 1950s and early 1960s often evoked the feeling of ritualistic objects or artefacts: as Herbert Read wrote at the time, 'the modern artist, such as Hubert Dalwood, seems determined to lead us back to the hidden sources of awe and wonder'.
Like many sculptors, Dalwood's early works were based on figures, especially the female form. But from the mid-1950s he adopted an abstract imagery moving away from any semblance to the human form, creating a series of what he called 'mysterious' objects. Their heavily worked and textured skins recall those of archaeological artefacts, excavated from the earth, as well as the craggy terrains of natural landscapes.
He worked in clay and plaster, revealing a fascination with the qualities of the surface, leaving tell-tale finger prints and marks, casting pieces in bronze or aluminium.
In the mid 1950s, Henry Moore began to acquire works by younger British sculptors, amongst them Hubert Dalwood's Tree Dalwood's works directly evoked the landscape, but did so in ways that also suggested the human form. As viewers look for the outlines and forms of a tree in this sculpture, they can also see facial profiles with eyes, nose and mouth in the sculpture's crudely gridded sides. Tree was, and still is, a strange and enigmatic sculpture, and it is not difficult to see why it caught the eye and mind of Henry Moore.
Tree also stands as a bold early statement of interest in the complex relationship between sculpture, landscape and the imagination – a central strand to his work that would continue throughout his career.
His three years in Leeds, between 1955 and 1958, were highly influential, bringing him into close contact with painters such as Alan Davie, Terry Frost and Harry Thubron. Connections between their paintings and his sculptures of the time have often been remarked upon by critics, and Tree is often cited within this context. Yet Dalwood's Tree also stands as a bold early statement of interest in the complex relationship between sculpture, landscape and the imagination – a central strand to his work that would continue throughout his career.
A Single Tree developed into a variety of more complex object environments and from the late 1950s to the mid-1970s, his catalogue of works abounds with 'places', 'countries', 'gardens', 'slopes' and 'landscapes'. Many of Dalwood's earlier sculptures, such as Icon (1958) and Throne (1960), come with their own integrated, inbuilt bases and in some, such as the Bonzai Gardens and Landscapes of the mid 1970s, the bases expand horizontally to become the main part of the sculptures themselves. These works underline how the close, interconnected relationship between an object and the ground was central to Dalwood's thinking not only about sculpture, but also about culture and nature generally. Things double up in his work: objects stand as environments and both ‘architectural objects’ and ‘landscape objects’ have a shared and organically grounded aspect to them.
Dalwood had a fondness for the craggy landscapes of Cornwall and Yorkshire, including Brimham Rocks. Such landscapes evoked modern art as much as pre-history, as Dalwood knew. Many of the all-important surfaces of Dalwood's bronze and plaster sculptures deliberately recall the weathered, rough surfaces of rocks. However, he also produced shiny aluminium surfaces. From the mid 1960s, following a period spent teaching in North America, Dalwood became increasingly interested in architecture and its relationship to landscape. He started to create monumental architectural forms out of polished aluminium and sheet metal, which reflect their surroundings; and imagined, magical environments – vast landscapes on a small scale – which can be understood in their entirety when seen from above.
He was commissioned to make works for various public projects and universities in Britain, and many of his works were cast in his favoured material, aluminium. One of his works can be seen at Bodington Hall, one of the student residencies at the University of Leeds. (1961)