DOI Heft:
No. 373 (April 1924)
DOI Artikel:Usborne, Vivian: The sculpture of Katharine Maltwood
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21399#0216
THE SCULPTURE OF KATHARINE MALTWOOD
and Buddist religions have moved her and
she has also comprehended and expressed
the mysterious force of growth which
permeates all life. With this is combined a
strong feeling for form, and a desire to
make use of chiaroscuro effects in bas-
reliefs which her easy and instinctive
technique brings out in a wonderful way.
In her every line one reads what is almost
a contempt for the merely pretty, and a
reposeful whole is a sine qua non of each
work, however vivid and intense its
theme. a a a 0 a
Katharine Maltwood studied at the
Slade, and but for an interruption to do
important war work, she has devoted
herself to her art without remission, unless
travel in many lands which operates
directly to illumine the spirit of an artist
and to open his comprehension, so that
understanding, he may speak to humanity,
can be called a remission, a 0 0
Mrs. Maltwood has executed a colossal
statue of Primeval Canada, the front por-
tion of which was exhibited at the London
Salon, 19x3. The head of this Canada
is a wonderful study in itself. Indian in
characteristic feature it has yet a trace
both of the archaic and the universal. The
face as viewed from above is of unusual
beauty, and seems about to awake to a
wondrous and passionate destiny, 0 0
The war produced a change in her work,
and so we have The Mills of God, first
exhibited at Ridley Art Exhibition in
October, 1919, and later in bronze at
Olympia in 1922. This arresting composi-
tion, born of war's despair, sends a cold
shiver of horror through the beholder who
feels those remorseless mills drawing in
all flesh both strong and weak, man and
woman to be ground into the primeval
dust. “ All is vanity,” says the sculptor
here, and says it with exceeding strength
and beauty of form and arrangement, 0
Perhaps the most interesting work of
all is the Archangel, an alabaster figure
designed for colossal reproduction as the
roof-supporting external pillars of a domed
cathedral. One must note how the effect
is produced without any sacrifice of the
solid strength and continuity of material
required for such a purpose. English
womanhood owes a debt to Mrs. Maltwood
for her example of fearless originality. 0
ARCHANGEL”
BY KATHARINE
MALTWO OD
I98
and Buddist religions have moved her and
she has also comprehended and expressed
the mysterious force of growth which
permeates all life. With this is combined a
strong feeling for form, and a desire to
make use of chiaroscuro effects in bas-
reliefs which her easy and instinctive
technique brings out in a wonderful way.
In her every line one reads what is almost
a contempt for the merely pretty, and a
reposeful whole is a sine qua non of each
work, however vivid and intense its
theme. a a a 0 a
Katharine Maltwood studied at the
Slade, and but for an interruption to do
important war work, she has devoted
herself to her art without remission, unless
travel in many lands which operates
directly to illumine the spirit of an artist
and to open his comprehension, so that
understanding, he may speak to humanity,
can be called a remission, a 0 0
Mrs. Maltwood has executed a colossal
statue of Primeval Canada, the front por-
tion of which was exhibited at the London
Salon, 19x3. The head of this Canada
is a wonderful study in itself. Indian in
characteristic feature it has yet a trace
both of the archaic and the universal. The
face as viewed from above is of unusual
beauty, and seems about to awake to a
wondrous and passionate destiny, 0 0
The war produced a change in her work,
and so we have The Mills of God, first
exhibited at Ridley Art Exhibition in
October, 1919, and later in bronze at
Olympia in 1922. This arresting composi-
tion, born of war's despair, sends a cold
shiver of horror through the beholder who
feels those remorseless mills drawing in
all flesh both strong and weak, man and
woman to be ground into the primeval
dust. “ All is vanity,” says the sculptor
here, and says it with exceeding strength
and beauty of form and arrangement, 0
Perhaps the most interesting work of
all is the Archangel, an alabaster figure
designed for colossal reproduction as the
roof-supporting external pillars of a domed
cathedral. One must note how the effect
is produced without any sacrifice of the
solid strength and continuity of material
required for such a purpose. English
womanhood owes a debt to Mrs. Maltwood
for her example of fearless originality. 0
ARCHANGEL”
BY KATHARINE
MALTWO OD
I98