#ELISABETH FRINK FULL#
#ELISABETH FRINK SERIES#

In 1985 alone, she was committed to two major projects: a set of three figures for a corporate headquarters, one of which was a nearly 7-foot-tall (2.1В m) male nude and the other, a grouping entitled Dorset Martyrs for Dorchester, Dorset. The date of the retrospective, originally to be held in 1986, was moved forward a year due to space demands at the gallery, causing Frink some headaches due to her busy commissioned work schedule. In 1982, a new publishing firm proposed to produce a catalogue raisonnГ© of all of her works to date and the Royal Academy planned a retrospective of her life's work. The 1980s held capstones for Frink's career. In 1984 she explained that she 'focused on the male because to me he is a subtle combination of sensuality and strength with vulnerability'. Frink's sculpture, and her lithographs and etchings created as book illustrations, drew on archetypes expressing masculine strength, struggle and aggression. On returning to England, she focused on the male nude, barrel-chested, with mask-like features, attenuated limbs and a pitted surface, for example Running Man (1976 Pittsburgh, PA, Carnegie Mus.

#ELISABETH FRINK SERIES#

While living in France from 1967 to 1970, she began a series of threatening, monumental male heads, known as the goggled heads. In the 1960s Frink's continuing fascination with the human form was evident in a series of falling figures and winged men. This process contradicts the very essence of 'modeling form' established in the modeling tradition and defined by Rodin's handling of clay. This is created by her adding plaster to an armature, which she then worked back into with a chisel and surform. ДЇlying Men, Odette Sculpture Park Windsor CanadaДЄlthough she made many drawings and prints, she is best known for her bronze outdoor sculpture, which has a distinctive cut and worked surface. She created a bookrest in the form of an eagle, for the lectern of the new Coventry Cathedral, as well as a canopy for its Bishop's throne. Bird (1952 London, Tate), one of a number of bird sculptures, and her first successful pieces (also Three Heads and the Figurative Tradition) with its alert, menacing stance, characterizes her early work.

Frink's subject matter included men, birds, dogs, horses and religious motifs, but very seldom any female forms. She was part of a postwar group of British sculptors, dubbed the Geometry of Fear school, that included Reg Butler, Bernard Meadows, Kenneth Armitage and Eduardo Paolozzi. Career ДЇrink studied at the Guildford School of Art (now the University for the Creative Arts) (1946вЂ“1949), under Willi Soukop, and at the Chelsea School of Art (1949вЂ“1953).

#ELISABETH FRINK FULL#

When Southlands School was commandeered for the war effort in 1943 Frink became a full time pupil at The Convent of the Holy Family School. During the course of the war Frink was evacuated with her mother and brother Tim to Exmouth, Devon where she attended Southlands Church of England School. Her early drawings, from the period before she attended arts school in London, have a powerful apocalyptic flavour: themes include wounded birds and falling men. Growing up near a military airfield in Suffolk, she heard bombers returning from their internecine missions and on one occasion was forced to hide under a hedge to avoid the machine gun attack of a German fighter plane. The Second World War, which broke out shortly before Frink's ninth birthday, provided context for some of her earliest artistic works. Captain Ralph Cuyler Frink, was a career officer in the 4th/7th Royal Dragoon Guards and among the men of the cavalry regiment evacuated from Dunkirk in the early summer of 1940.

Her parents were Ralph Cuyler Frink and Jean Elisabeth (nГ©e Conway-Gordon). Elisabeth Frink was born in November 1930 at her paternal grandparents' home The Grange in Great Thurlow, a village and civil parish in the St Edmundsbury district of Suffolk, England.

Elisabeth frink