Horse
Beaux Arts London unveils a collection of equine sculptures and drawings.
Elisabeth Frink, Barry Flanagan and Eduardo Paolozzi will be joined by new
talented artists Nic Fiddian Green, Nicola Hicks and Anthony Scott.
A deep connection with the horse has been influencial to their artistic
inspiration and practise.
“When I think of (Elisabeth) Frink, it is first and immediately of heroes
and their beasts: huge men standing and running, their cannonball heads
impassive, or riding blank eyed under obsessive horses..’
‘Over and over again I thank Frink for these images of power. Power infused
with gentleness: the twist of suffering deep through the metal.” Peter Shaffer,
Elisabeth Frink Sculpture, Catalogue Raisonne, Harpvale, 1984.
Barry Flanagan’s (...) splendid horses are also, of course, presences; they
live in our heads.” Barry Flanagan Sculpture 1965-2005, Irish Museum of Modern Art /
Dublin City Gallery the Hugh Lane, edited by Enrique Juncosa. Mel Gooding, First Catch your
hare: An essaying in four unequal parts and a coda, with a salutation. Part 4, p. 179.
‘ Nicola Hicks’s practice is rooted in the study of anatomy and observation
from life. But she is not concerned solely with mimetic representation. At
times realistic, at other times fable-like, her creatures capture something
of the physical and psychological power of living beings, animalistic in form
and body yet uncannily human in character.’ Yale Center for British Art, Center
invites works by British sculptor Nicola Hicks into conversation with its collection, Sculpture by
Nicola Hicks. Press Release, March 2014
‘Ever since he (Nic Fiddian-Green) saw a fifth-century B.C. carving of the
head of a horse of Selene from the Parthenon at the British Museum he has
worked at perfecting the form of the horse’s head, as well as mastering the
ancient ‘lost wax’ technique.’ The Cool Hunter, Art. The Horse Sculpture. November
2012.
‘The tendency of the human soul to emerge in animal form is an ongoing
theme in the work of Anthony Scott. His horses, and there have been many
of them, are not real horses. They have been drawn from Celtic mythology
where human characters are likely to appear as animals, and where beasts
may have human souls. Elegant of line and proud of bearing, his horses
represent the feminine and inhabit the slippery boundary between the
earthly and the magical. Each is given the name of a character from the
ancient tales’. Dr Eleanor Flegg.