Editing Barbara Hepworth (section)

==Biography==
===Early life===
Jocelyn Barbara Hepworth was born on 10 January 1903 in [[Wakefield]], West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth.<ref name="bio" /> Her father was a civil engineer for the West Riding County Council, who in 1921 advanced to the role of [[county surveyor]].<ref name="bio" /> Hepworth attended [[Wakefield Girls' High School]], where she was awarded music prizes at the age of 12<ref>{{cite encyclopedia|title='Rhythm of the Stones': Barbara Hepworth and Music|last=Bowness|first=Sophie|url=https://archive.org/details/barbarahepworth00chri/page/25|encyclopedia=Barbara Hepworth : centenary|editor-last=Stephens|editor-first=Chris|year=2003|publisher=Tate|location=London|page=25|isbn=978-1-85437-479-0}}</ref><ref name="hepworth1970">{{cite book |first1=Barbara |last1=Hepworth |title=Barbara Hepworth: A Pictorial Autobiography |publisher=Praeger Publishers |date=1970 |edition=1st |location=New York |lccn=73-99496}}</ref> and won a scholarship to study at the [[Leeds School of Art]] from 1920. It was there that she met her fellow Yorkshireman, [[Henry Moore]].<ref name="bio" /> They became friends and established a friendly rivalry that lasted professionally for many years.

Despite the difficulties of attempting to gain a position in what was a male-dominated environment,<ref>{{cite book |last=Festing |first=Sally |title=Barbara Hepworth: A Life of Forms |date=1995 |pages=xviii, 24}}</ref> Hepworth successfully won a county scholarship to attend the [[Royal College of Art]] (RCA) in London and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.<ref name="ccc" />

===Early career===
[[File:1932 Barbara Hepworth Pierced Form, Paul Laib, photographer, courtauld museum.jpg|thumb|right| Barbara Hepworth, ''Pierced Form,'' 1932 (pink alabaster, original destroyed {{circa|1944}})<ref>{{cite web |last1=Hepworth |first1=Barbara |title=Pierced Form (1932, destroyed ca. 1945)|url=http://barbarahepworth.org.uk/sculptures/1932/pierced-form/ |publisher=Barbara Hepworth Estate |date=1932}}</ref>]]
Following her studies at the RCA, Hepworth travelled to [[Florence]], Italy, in 1924 on a [[West Riding]] Travel Scholarship.<ref name=gale/> Hepworth was also the runner-up for the [[Prix-de-Rome]], which the sculptor [[John Skeaping]] won.<ref name=gale/> After travelling with him to Siena and Rome, Hepworth married Skeaping in May 1925 in Florence.<ref name=bio/> In Italy, Hepworth learned how to carve marble from sculptor Giovanni Ardini.<ref name=bio/> Hepworth and Skeaping returned to London in 1926, where they exhibited their works together from their flat.<ref name=bio/> Their son Paul was born in London in 1929.<ref name=gale/> In 1931, Hepworth met and fell in love with abstract painter [[Ben Nicholson]]; however, both were still married at the time.<ref>{{cite web| date=10 July 2015|title=The personal and professional life of Barbara Hepworth |url=https://blog.nationalarchives.gov.uk/archives-behind-artist-barbara-hepworth-work/|access-date=25 August 2020|website=The National Archives blog}}</ref> Hepworth filed for divorce from Skeaping that year;<ref>{{cite web|date=1931|title=Divorce Court File: 1565. Appellant: Jocelyn Barbara Skeaping. Respondent: John Rattenbury Skeaping...|url=http://discovery.nationalarchives.gov.uk/details/r/C8064829|access-date=16 March 2022|website=The National Archives}}</ref> they were divorced in March 1933.<ref name=bio/>

Her early work was highly interested in abstraction and art movements on the continent. In 1931, Hepworth was the first to sculpt the pierced figures that are characteristic of both her own work and, later, that of Henry Moore.<ref>{{cite journal |last1=Winterson |first1=Jeanette |title=The hole of life |url=https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274/hole-life|journal=Tate Magazine |issue=5|publisher=Tate Gallery |location=London}}</ref> They would lead in the path to modernism in sculpture. In 1933, Hepworth travelled with Nicholson to France, where they visited the studios of [[Jean Arp]], [[Pablo Picasso]], and [[Constantin Brâncuși]].<ref name=bio/> Hepworth later became involved with the Paris-based art movement, [[Abstraction-Création]].<ref name=eb/> In 1933, Hepworth co-founded the [[Unit One]] art movement with Nicholson and [[Paul Nash (artist)|Paul Nash]], the critic [[Herbert Read]], and the architect [[Wells Coates]].<ref name=nash/> The movement sought to unite Surrealism and abstraction in British art.<ref name=nash/>

Hepworth also helped raise awareness of continental artists amongst the British public. In 1937, she designed the layout for ''[[Circle: An International Survey of Constructivist Art]]'', a 300-page book that surveyed Constructivist artists and that was published in London and edited by Nicholson, [[Naum Gabo]], and [[Leslie Martin]].<ref name=peggy/>

Hepworth, with Nicholson, gave birth to triplets in 1934: Rachel, Sarah, and [[Simon Nicholson|Simon]]. Hepworth, atypically, found a way to both take care of her children and continue producing her art. "A woman artist", she argued, "is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate)&nbsp;– one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one's mind."<ref name="guardian"/> Hepworth married Nicholson on 17&nbsp;November 1938 at [[Hampstead]] Register Office in north London, following his divorce from his wife [[Winifred Nicholson|Winifred]].<ref name=alan/> Rachel and Simon also became artists.<ref name=riggs/>

===St Ives===
[[File:Barbara Hepworth monolyth empyrean.jpg|thumb|right|''Monolith-Empyrean'', 1953.]]
Hepworth, Nicholson and their children went to live in Cornwall at the outbreak of the Second World War in 1939.<ref name=tate/><ref name="Phaidon Editors">{{cite book |title=Great Women Artists |year=2019 |publisher=Phaidon Press |isbn=978-0-7148-7877-5 |page=183}}</ref> She lived in Trewyn Studios in [[St Ives, Cornwall|St Ives]] from 1949 until her death in 1975. Trewyn Studios had once been an outbuilding of Trewyn House, later purchased by her pupil and assistant [[John Milne (sculptor)|John Milne]] in 1956.<ref>{{cite web|title='Credo', John Milne, 1974|url=https://www.tate.org.uk/art/artworks/milne-credo-t15361|first=Andrew |last=Wilson|date=June 2019|access-date=11 January 2023|website=Tate}}</ref><ref name=tate/> She said that "Finding Trewyn Studio was sort of magic. Here was a studio, a yard, and garden where I could work in open air and space."<ref name=tate/> St Ives had become a refuge for many artists during the war. On 8 February 1949, Hepworth and Nicholson co-founded the [[Penwith Society of Arts]] at the Castle Inn; 19 artists were founding members, including [[Peter Lanyon]] and [[Bernard Leach]].
<ref name=penwith/>

Hepworth was also a skilled draughtsperson. After her daughter Sarah was hospitalised in 1944, she struck up a close friendship with the surgeon Norman Capener.<ref name="pallant2012">{{cite web|title=Barbara Hepworth: The Hospital Drawings 27th November 2012|url=http://pallant.org.uk/about1/press-office/press-releases/2012/barbara-hepworth-hospital-drawings|website=pallant.org.uk|publisher=Pallant House Gallery|access-date=11 February 2016|archive-date=15 February 2016|archive-url=https://web.archive.org/web/20160215233228/http://pallant.org.uk/about1/press-office/press-releases/2012/barbara-hepworth-hospital-drawings|url-status=dead}}</ref> At Capener's invitation, she was invited to view surgical procedures and, between 1947 and 1949, she produced nearly 80 drawings of operating rooms in chalk, ink, and pencil.<ref name="pallant2012"/><ref name="hepburn2013">{{cite book| publisher = Tate| isbn = 978-1-84976-165-9| last = Hepburn| first = Nathaniel| title = Barbara Hepworth: The Hospital Drawings| location = New York| year=2013}}</ref> Hepworth was fascinated by the similarities between surgeons and artists, stating: "There is, it seems to me, a close affinity between the work and approach of both physicians and surgeons, and painters and sculptors."<ref name="pallant2012"/>

In 1950, works by Hepworth were exhibited in the British Pavilion at the XXV [[Venice Biennale]]<ref name=bio/> alongside works by [[Matthew Smith (painter)|Matthew Smith]] and [[John Constable]].<ref name=british/> The 1950 Biennale was the last time that contemporary British artists were exhibited alongside artists from the past.<ref name=british/> Two early public commissions, ''[[Contrapunctal Forms (sculpture)|Contrapunctal Forms]]'' and ''[[Turning Forms]]'', were exhibited at the [[Festival of Britain]] in 1951.<ref>{{cite news|url=https://heni.com/talks/harlow-hepworth|author=Irena Posner|title=Harlow's Hidden Hepworth Sculpture|work=HENI Talks}}</ref><ref>{{cite news|url=https://hepworthwakefield.org/our-story/hepworth-research-network/events/revisiting-turning-forms/|title=Revisiting Turning Forms|work=The Hepworth Wakefield}}</ref> 

During this period, Hepworth and Nicholson divorced (1951).<ref name=riggs/> Hepworth moved away from working only in stone or wood and began to work with bronze and clay.<ref name=tate/> Hepworth often used her garden in St Ives, which she designed with her friend the composer [[Priaulx Rainier]], to view her large-scale bronzes.<ref name=tate/>

====Death of her son Paul====
[[File:Corinthos by Barbara Hepworth, Tate Liverpool.jpg|thumb|right|''Corinthos'' (sculpted in [[guarea]] wood), 1954–55, at [[Tate Liverpool]].<ref name="Corinthos">{{cite web| url=http://www.tate.org.uk/art/artworks/hepworth-corinthos-t00531/text-catalogue-entry | title=Corinthos 1954–55 | publisher=[[Tate Gallery]] | location=UK | access-date=5 August 2015 }}</ref>]]
Her eldest son Paul was killed on 13 February 1953 in a plane crash while serving with the [[Royal Air Force]] in Thailand.<ref name=stephens/> A memorial to him, ''Madonna and Child'', is in the [[St Ia's Church, St Ives|parish church of St Ives]].<ref name=bio1/>

Exhausted, in part from her son's death, Hepworth travelled to Greece with her friend [[Margaret Gardiner (art collector)|Margaret Gardiner]] in August 1954.<ref name=stephens/> They visited [[Athens]], [[Delphi]] and many of the [[Aegean Islands]].<ref name=stephens/>

When Hepworth returned to St Ives from Greece in August 1954 she found that Gardiner had sent her a large shipment of Nigerian [[guarea]] hardwood.<ref name = stephens/> Although she received only a single tree trunk, Hepworth noted that the shipment from Nigeria to the Tilbury docks came in at 17 tons.<ref name = stephens/> Between 1954 and 1956 Hepworth sculpted six pieces out of guarea wood, many of which were inspired by her trip to Greece, such as ''Corinthos'' (1954) and ''Curved Form (Delphi)'' (1955).<ref name = stephens/>

===Ambivalent burden of international reputation===
It was also during this decade that Hepworth became preoccupied with the idea of establishing a market base for her work in the United States. Initially she hoped to follow Henry Moore's successful sale of artwork via [[Curt Valentin]] of Bucholz Gallery in New York. Negotiations with Valentin did result in a number of American sales, but despite the sales, and despite interventions by Hepworth's friends, Valentin rebuffed repeated requests to hold any substantial stock of her work. It was not until 1955, after the [[Martha Jackson Gallery]] had offered Hepworth the opportunity to exhibit in their space alongside works by [[William Scott (artist)|William Scott]] and [[Francis Bacon (artist)|Francis Bacon]], that Hepworth formalised gallery representation in the new world.<ref name="Tate Gallery">{{cite journal |last1=Roberts |first1=Emma |title=Representation and Reputation: Barbara Hepworth's Relationships with her American and British Dealers |url=https://www.tate.org.uk/research/publications/tate-papers/20/representation-and-reputation-barbara-hepworths-relationships-with-her-american-and-british-dealers|journal=Tate Papers 20, Autumn 2013|publisher=Tate Gallery |location=London |issn= 1753-9854 |date=2013}}</ref>

[[File:Barbara Hepworth Single Form Battersea.JPG|thumb|right|''[[Single Form|Single Form (Memorial)]]'' at [[Battersea Park]], London.]]
Hepworth's difficulties in establishing a stable gallery relationship in the United States have been attributed to many factors, including the artist's own diffidence regarding personal promotion of her work. When Martha Jackson failed to arrange the solo American exhibition of sculptures and drawings that Hepworth demanded, Hepworth moved, in 1957, to [[Galerie Chalette]], run by Arthur and Madeleine Lejwa, known for their close relationship with [[Jean Arp]], and dedication to close relationships with their artists.<ref>{{cite web| url=https://artdaily.cc/news/108881/Christie-s-announces-selections-from-the-Israel-Museum-to-benefit-the-acquisitions-fund | title=Christie's announces selections from the Israel Museum to benefit the acquisitions fund | publisher=Art Daily | date=2018 | access-date=21 March 2020 }}</ref>

The Lejwas came through with the solo exhibition Hepworth craved.<ref name="Tate Gallery"/> Hepworth came to New York for the opening (her first visit to the city),<ref>{{cite web |last1=Bowness |first1=Sophie |title=Barbara Hepworth Chronology |url=https://barbarahepworth.org.uk/biography/ |publisher=Hepworth Estate}}</ref> but made minimal contact with the press and left as soon as possible. "Have seen all the press", she wrote, "pulled faces at the camera and generally done my best!"<ref name="Tate Gallery"/>

Three years later, having secured the [[Dag Hammarskjöld]] Memorial Commission (''Single Form,'' 1964), she left both Chalette and [[Gimpel Fils]], her long-time home agent, for the larger Marlborough Fine Art and Marlborough-Gerson. "Pulled between personal loyalties and professional aspirations", Hepworth chose to forfeit the personal relationships.<ref>{{cite journal |last1=Correia |first1=Alice |title=Barbara Hepworth and Gimpel Fils: The Rise and Fall of an Artist-Dealer Relationship|url=https://www.tate.org.uk/research/publications/tate-papers/22/barbara-hepworth-and-gimpel-fils-the-rise-and-fall-of-an-artist-dealer-relationship|journal=Tate Papers 22|publisher=Tate Gallery |location=London |issn= 1753-9854 |date=2014}}</ref>

===Late career===
Hepworth greatly increased her studio space in 1960 when she purchased the [[Palais de Danse, St Ives|Palais de Danse]], a former cinema and dance hall, that was situated across the street from Trewyn. She used this new space to work on large-scale commissions.<ref name=sophie/>

She also experimented with [[lithography]] in her late career, and produced two lithographic suites with the Curwen Gallery and its director Stanley Jones, one in 1969 and one in 1971.<ref name=behrman/> The latter was entitled "The Aegean Suite" (1971) and was inspired by Hepworth's trip to Greece in 1954 with [[Margaret Gardiner (art collector)|Margaret Gardiner]].<ref name="hepworthwakefield">{{cite web|title=Barbara Hepworth: Graphic works 26 April 2013 – 7 February 2014|url=http://www.hepworthwakefield.org/whatson/barbara-hepworth-graphic-works|archive-url=https://web.archive.org/web/20130508054016/http://www.hepworthwakefield.org/whatson/barbara-hepworth-graphic-works/|url-status=dead|archive-date=8 May 2013|website=hepworthwakefield.org|publisher=The Hepworth Wakefield|access-date=11 February 2016}}</ref> The artist also produced a set of lithographs entitled "Opposing Forms" (1970) with [[Marlborough Fine Art]] in London.<ref name="hepworthwakefield"/>

Barbara Hepworth died in an accidental fire at her Trewyn studios on 20 May 1975 at the age of 72.<ref name="barbarahepworth.org">{{cite web|last1=Bowness|first1=Sophie|title=Biography|url=http://barbarahepworth.org.uk/biography/|website=barbarahepworth.org.uk|publisher=Sophie Bowness|access-date=11 February 2016}}</ref>