Recognition
Hepworth was awarded the Grand Prix at the 1959 Sāo Paolo Bienal. She also was awarded the Freedom of St Ives award in 1968 as an acknowledgment of her significant contributions to the town. She was awarded honorary degrees from Birmingham (1960), Leeds (1961), Exeter (1966), Oxford (1968), London (1970), and Manchester (1971). She was appointed CBE in 1958 and DBE in 1965. In 1973 she was elected an honorary member of the American Academy of Arts and Letters.
Following her death, her studio and home in St Ives became the Barbara Hepworth Museum, which came under control of the Tate in 1980.
In 2011, the Hepworth Wakefield opened in Hepworth’s hometown of Wakefield, England. The Museum was designed by the famed architect David Chipperfield.
In January 2015 it was announced that Tate Britain was to stage the first big London show of Hepworth’s work since 1968. It would bring together more than 70 of her works, including the major abstract carvings and bronzes for which she is best known. It would also include unseen photographs from the Hepworth archive, held by the Tate, including a self-photogram created in the 1930s and experimental photographic collages.
Frequently Asked Questions
Who Was Barbara Hepworth?
Barbara Hepworth (1903-1975) was a prominent British sculptor. She was a pioneer in Modernist abstract sculpture and created work with sensitivity, balance, rhythm, and harmony. Her powerful lyrical work continues to inspire many artists to this day.
How Did Barbara Hepworth Die?
You may be wondering, exactly how did Barbara Hepworth die? The answer to this question is unfortunately quite tragic. Hepworth died in 1975 in a fire in her home at St Ives. After her passing, her home and studio were preserved as the Barbara Hepworth Home and Sculpture Garden and are managed by the St Ives branch of the Tate Modern.
The Stone Carving Studio
One of the most thrilling aspects of the Barbara Hepworth Museum and Sculpture Garden is the chance to spend time in Hepworth’s workspace, the Lower Ground Studio, where she carved stone. A renowned Modernist sculptor, Hepworth’s critical thinking, aesthetic mindset, mastery of technology and worldview were thoroughly contemporary with her time. And yet when you step into her stone carving studio, except for an electric fan the entire workspace and almost everything inside of it might just have easily come from centuries before.
Hepworth’s timeless respect for technique and craftsmanship, and for the preservation of a meaningful environment is evident everywhere. It emanates from every surface in her workspace, from every tool, from every partially completed sculpture, and from every bump and crack in the architecture.
#5 SHE WON THE GRAND PRIX OF THE 1959 SAO PAOLO BIENNALE
In 1925, Barbara learned to carve marble from the master sculptor, Giovanni Ardini. By the early 1930s she had completely moved to abstraction in her sculptures and she soon introduced piercing to abstract sculpture. Her first major solo exhibition was held in 1943. In the early 1950s she moved away from working only in stone or wood and began casting her works in bronze. This enabled her to carry out large scale sculptures. In 1959, Hepworth won the Grand Prix of the Sao Paolo Biennale. This greatly enhanced her international reputation and by 1960s she was acclaimed as one of the leading abstract sculptors in the world.
Barbara Hepworth in 1933
Single Form by Barbara Hepworth
One of the most powerful examples on display of Hepworth’s unique ability to express the marriage of natural and human processes is the sculpture Single Form, carved from Walnut in 1961. The form seems engineered, yet it is so subtly shaped that it seems the forces of wind or water could have created it over a period of centuries. The wood’s natural character speaks with emotion equal to that of the form itself. Hepworth created a much larger variation of this form in bronze for the entrance of the Headquarters of the United Nations. That piece, also called Single Form, has graced the reflecting pool at the UN since 1964. Its somewhat figurative, somewhat ovular shape evokes an egg, a timeless symbol of nature, potential and rebirth, perfectly expressing the humanist ideals that inspired the best intentions of the UN’s mission of peace.
Early Career
Hepworth married Skeaping in May 1925. The couple moved to Rome where Hepworth first learned to carve with stone under the guidance of sculptor Giovanni Ardini.
In November 1926, the newlyweds returned to London. During this time, Hepworth began to work and exhibit her sculpture at her own studio, where she directly carved into stone using a hammer and chisel. This “direct carving” technique allowed Hepworth’s raw materials to retain an organic quality and deliberately allowed viewers to see the artist’s hand or “signature.”
Hepworth gave birth to her first child, Paul Skeaping, on August 3, 1929. Many of her early works took the form of an infant, or a child and a mother. These figures remained key motifs in Hepworth’s work but were later abstracted. Nature also remained a prominent theme in her work, especially the sea and waves.
#7 HEr MOST FAMOUS WORK IS THE BRONZE SCULPTURE SINGLE FORM
In 1961, Barbara Hepworth was commissioned to create a sculpture in memory of her friend, the 2nd Secretary-General of UN, Dag Hammarskjöld. Dag was killed in 1961 en route to cease-fire negotiations and was awarded the Nobel Peace Prize posthumously. Hepworth responded with her largest work ever, a bronze sculpture known as Single Form. Displayed outside the UN headquarters in New York since 1964, it is 21 feet high and weighs over 5 tonnes. Single Form is one of the most televised sculptures in the world and perhaps Hepworth’s most famous work
Single Form by Barbara Hepworth, UN Plaza at UN Secretariat, NYC
Summary of Barbara Hepworth
Barbara Hepworth distinguished herself as a world-recognized sculptor in a period where female artists were rare. She evolved her ideas and her work as an influential part of an ongoing conversation with many other important artists of her time, working crucially in areas of greater abstraction while creating three dimensional objects. Her development of sculptural vocabularies and ideas was complex and multi-faceted. This included the use of a wide range of physical materials for sculpting and an unprecedented sensitivity to the particular qualities of those materials in helping decide the ultimate results of her sculptures, the investigation of «absence» in sculpture as much as «presence,» and deep considerations of the relationship of her sculptural forms to the larger spaces surrounding it. Though her forms in their larger outlines tended to possess the clean lines of modernist aesthetics, she complicated these with different textures, an effect described by one reviewer as «sensuous and tactile» that «quickened the pulse».
A Sort of Magic
The Barbara Hepworth Museum and Sculpture Garden is located on the grounds of Trewyn Studio, Hepworth’s former home and workshop. When Hepworth first discovered Trewyn in the idyllic, beachside town of St. Ives, she called it “a sort of magic.” She celebrated it not only for the beautiful setting, but also for the outdoor space where she could make and display her work. Trewyn allowed her to transition into working with bronze and to create works on a larger scale. As her needs demanded it, she acquired neighboring property and eventually enjoyed the capabilities of creating monumental commissions.
The collection now on display, which is managed by the Tate, is the fulfillment of the desire she expressed in her will for Trewyn to be transformed into a museum. The space has been splendidly restored to appear to a large degree as it was when she worked there, and so feels less like a museum and more like a functional workspace. Examining the products of Hepworth’s vast artistic range up close in such an intimate setting, we couldn’t help but be moved by how her work so elegantly marries human vision with the natural world.
Barbara Hepworth — Early Life and Education
Born in Wakefield, West Riding of Yorkshire, Jocelyn Barbara Hepworth was the eldest child of Gertrude and Herbert Hepworth, a civil engineer who worked for West Riding County Council before becoming a County Surveyor in 1921. During his car journeys all over the West Riding of Yorkshire (made in the course of his work), Barbara would often accompany him. She attended Wakefield Girls’ High School, and in 1920, she began studying at Leeds School of Art, where she met Henry Moore, another major figure in British art scene of the 20th century. A year later, she begins her studies of sculpture at the Royal College of Art, and together with Moore and other students at the College, makes occasional trips to Paris. She was awarded the diploma of the Royal College of Art in the summer of 1923 but decided to stay an extra year in order to compete for the 1924 Prix de Rome. She lost to John Skeaping, an immensely talented sculptor, but was awarded West Riding Scholarship for one year’s travel abroad. In October 1924, Hepworth travels to Italy and based in Florence, spends the first months studying Romanesque and early Renaissance art and architecture in Tuscany. In May of the following year, she married John Skeaping in the Palazzo Vecchio in Florence. In late 1926, the couple returned to the capital of England due to Skeaping’s ill-health. Their son, Paul Skeaping, was born three years later.
#3 SHE MARRIED ENGLISH SCULPTOR JOHN SKEAPING IN 1925
Prix de Rome was a French scholarship for arts students. Hepworth was the runner-up for the Prix-de-Rome in 1924. The scholarship was won by the English sculptor John Skeaping, who was known to Hepworth from her time at the RCA. Hepworth was awarded a West Riding Scholarship for one year’s travel abroad. She travelled with Skeaping through Siena and Rome. On 13 May 1925, Barbara Hepworth married John Skeaping at the Palazzo Vecchio in Florence, Italy. They moved to London in 1926 and exhibited their work together from their flat. In 1929 they had their only child Paul. They got divorced in 1933.
Barbara with John Skeaping at the British School in Rome
Barbara Hepworth — Sculptor
By The Cornwall Guide. Last updated 12 Jan 2022
The artistic tradition in St Ives dates back to the end of the 19th century but it was not until the mid 20th century that the town established itself on the avant-garde of the British art scene. There are few names that are more synonymous with this era than that of the sculptor Barbara Hepworth.
Epidauros II — Barbara Hepworth
Hepworth was born into a middle class family in Wakefield, Yorkshire at the turn of the century. Her father was a civil engineer who went on to become county surveyor. Hepworth’s artistic prowess was obvious early on and she was awarded a scholarship to Leeds School of Art in 1920. It was here that she met fellow sculptor Henry Moore, perhaps the best known of the wave contemporary artists from this era. There is little doubt he was a great influence on her work, but it is likely this was a two-way process. From here she won a further scholarship to the Royal College of Art receiving a diploma in 1923. The following year Hepworth stayed on to compete for the Prix de Rome. She lost out to John Skeaping who would become her husband.
After a spell in Italy Hepworth and Skeaping returned to settle in London where they both built up reputations and portfolios. Although the couple had a son, Paul, in 1929 their relationship couldn’t survive and they were divorced in 1933. It was during this period that she met artist Ben Nicholson with whom she would eventually move to St Ives with.
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In 1934 Hepworth and Nicholson became parents of triplets; Simon, Rachel and Sarah Hepworth-Nicholson. Four years later the couple were married and shortly after, with the outbreak of war, moved to St Ives, settling first in Carbis Bay. Whilst Hepworth was largely occupied with family life Nicholson became an influence on up and coming local artists such as Peter Lanyon, Terry Frost and John Wells forming the breakaway Penwith Society of Artists.
Barbara Hepworth Sculpture Garden
After this hiatus, Hepworth returned to the art world with a number of exhibitions and commissions in London. Towards the end of the 1940s, her and Nicholson’s relationship had begun to falter. In 1949 she bought Trewyn Studio (now the Barbara Hepworth Museum) moving there in 1950 and divorcing Nicholson in 1951. Barbara Hepworth lived and worked at Trewyn Studio for the rest of her life and it was during this period that she produced most of her best known works. She found the studio inspirational, writing, ‘Finding Trewyn Studio was a sort of magic, here was a studio, a yard and garden where I could work in open air and space ‘.
It was around this time that Barbara Hepworth began moving from here preferred media of stone and wood towards the bronze we mostly associated with her. Castings of many of these still remain in St Ives, either at the Trewyn studio or in various locations about the town. The space afforded by working outside also allowed the scale of her work to increase.
In 1953 Hepworth’s eldest son, Paul, was killed in a plane crash in Thailand whilst serving with the RAF. There is a touching memorial in the Lady chapel of St Ia church, the Madonna and Child (Bianco del Mare) which Hepworth carved in stone.
Barbara Hepworth — Madonna and Child
During the 1960s Hepworth solidified her status as an internationally recognised artist with works such as ‘Single Form’, a casting of which stands outside the United Nations building in New York. This pierced form is highly representative of the style Hepworth is best known for. Along with Henry Moore it is Barbara Hepworth who can lay claim to the influence of the hole in modern sculpture. In 1965, at the age of 62, Hepworth became Dame Barbara Hepworth (Commander of the British Empire) for her contribution to the world of contemporary art. The same year she was also appointed a Trustee of the Tate Gallery in London.
Hepworth continued working into her 70s at the Trewyn studio. However, tragedy struck on the 20th May 1975 when Hepworth died in a fire at her studio which is believed to have been caused by a cigarette setting light to her bedclothes. She had been seriously ill for some time before her death but the accident came as a shock none-the-less. Brabara Hepworth is buried in Longstone cemetery in Carbis Bay with a plain slate headstone marking her grave.
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The Barbara Hepworth Museum and Sculpture Garden opened in 1976 in line with the wishes expressed in her will. It contains the largest selection of her works on permanent display and it is fitting that these are set in the garden where they were envisaged and created. The Museum is owned and managed by Tate Gallery and has been since 1980.
Useful Resources on Barbara Hepworth
Books
websites
articles
video clips
Books
The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
biography
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Barbara Hepworth
By Helena Bonnet, Lee Beard, Sophie Bowness, Dr. Penelope Curtis, and Chris Stephens -
Barbara Hepworth: Writings and ConversationsOur Pick
By Sophie Bowness
written by artist
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Barbara Hepworth: A Pictorial AutobiographyOur Pick
By Barbara Hepworth
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Barbara Hepworth: The Hospital Drawings
By Nathaniel Hepburn
analysis and movements
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Modern British SculptureOur Pick
By Penelope Curtis
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Mother Stone: The Vitality of Modern British Sculpture
By Anne Wagner
View more books
websites
articles
video clips
Late career
The artist greatly increased her studio space when she purchased the Palais de Danse, a cinema and dance studio, that was across the street from Trewyn in 1960. She used this new space to work on large-scale commissions.
Hepworth also experimented with lithography in her late career. She produced two lithographic suites with the Curwen Gallery and its director Stanley Jones, one in 1969 and one in 1971. The latter was entitled «The Aegean Suite» (1971) and was inspired by Hepworth’s trip to Greece in 1954 with Margaret Gardiner. The artist also produced a set of lithographs entitled «Opposing Forms» (1970) with Marlborough Fine Art in London.
Barbara Hepworth died in an accidental fire at her Trewyn studios on 20 May 1975 at the age of 72.
Биография
Хепворт родился в Уэйкфилде , Западный Йоркшир ; его отец, Герберт Хепуорт, станет окружным инспектором-олдерменом. Он начал свои художественные исследования в Лидской школе искусств , а затем посещал Королевский колледж искусств с 1921 по 1924 год, для чего он получил стипендию, финансируемую графством. В последнем институте он познакомился и часто встречался со скульптором Генри Муром и художниками Рэймондом Коксоном и Эдной Джинези . В 1924 году посетил Италию со скульптором Джоном Скипингом , на котором женился во Флоренции 13 мая 1925 года; пара переехала в Рим, где они два года работали над скульптурой, прежде чем вернуться в Англию, в Лондон , в ноябре 1925 года.
Благодаря известности скульптора Ричарда Бедфорда, одного из кураторов Музея Виктории и Альберта , известного в Риме, известный коллекционер Джордж Эуморфопулос посетил мастерскую двух художников, купив две работы у Хепуортса. Пара переехала в Хэмпстед в 1928 году и присоединилась к новому художественному движению под названием « прямая резьба », в которое также входили Генри Мур и Ричард Бедфорд. В 1928 и 1930 годах Хепворт и ее муж Скипинг принимали участие в важных групповых выставках, сотрудничая с художественными группами London Group и 7 & 5 Society .
Между тем в 1929 году у пары родился сын Пол. Однако брак оказался неудачным, и когда Хепуорт познакомилась с художником Беном Николсоном в 1931 году, она завязала с ним отношения. Развод со Скипингом произошел в 1933 году, а в следующем году у женщины родилась тройня с Николсоном. Новоиспеченная пара начала экспериментировать с абстракционизмом , устанавливая контакты с французским авангардом и с художниками Гансом Арпом , Константином Бранкузи , Мондрианом , Браком и Пикассо , посещая их парижские мастерские. В 1937 году Хепворт и Николсон поженились. Начавшаяся война прервала контакты европейских художников с утопическими «интернационалистскими» движениями. Хепворт переехала с мужем в Сент-Айвс , разделив дом с другой парой: нехватка достаточного пространства заставила художника посвятить себя живописи и скульптуре небольших работ.
В Сент-Айвсе Хепворт и ее муж установили контакты со многими местными художниками, основав в 1949 году абстрактную группу Penwith Society of Arts .
Она стала кавалером Ордена Британской империи в году, за десять лет до того, как погибла в возрасте семидесяти двух лет в результате пожара в своей студии в Корнуолле , Сент-Айвс. Студия и ее дом теперь составляют музей Барбары Хепворт .
Early life
File:Hepworth FamilyOfMan 1970.jpg
Hepworth’s Family of Man (1970), bronze, Yorkshire Sculpture Park
Jocelyn Barbara Hepworth was born on 10 January 1903 in Wakefield, West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth. Her father was a civil engineer for the West Riding County Council, who in 1921 became County Surveyor. An upwardly mobile family, and a dominant father determined her to exploit fully her natural talents. She attended Wakefield Girls’ High School, and won a scholarship to and studied at the Leeds School of Art from 1920. It was there that she met her fellow student, Henry Moore. They became friends and established a friendly rivalry that lasted professionally for many years. Hepworth was the first to sculpt the pierced figures that are characteristic of works by both. They would lead in the path to modernism in sculpture.
Ever self-conscious as a woman in a man’s world, she then won a county scholarship to the Royal College of Art (RCA) and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.
Работы
Помимо музея Барбары Хепворт, больше ее работ будет выставлено в Хепуорте, музее в Уэйкфилде. Его работы также можно увидеть в Колледже Святой Екатерины в Оксфорде , Йоркширском парке скульптур в Западном Бреттоне, Западный Йоркшир; Колледж Клэр, Колледж Черчилля и Нью-Холл, Кембридж ; а также рядом с торговым центром John Lewis на Оксфорд-стрит или рядом с ним (см. изображение); и Kenwood House , оба в Лондоне . Его работу 1966 года под названием « Строительство (Распятие): Посвящение Мондриану » можно увидеть на территории Винчестерского собора возле Школы паломников. Галерея Тейт владеет многими его работами.
Крылатая фигура , 1963 год, рядом с торговым центром Джона Льюиса, на Оксфорд-стрит , Лондон .
| 1928 г. | Голуби | Паросский мрамор |
| 1932-33 гг. | Сидящая фигура | lignum vitae |
| 1933 г. | Две формы | алебастр и известняк |
| 1934 г. | Мать и ребенок | Камберлендский алебастр |
| 1935 г. | Три формы | Мрамор Серравецца |
| 1936 г. | Шаровая плоскость и отверстие | lignum vitae, красное дерево и дуб |
| 1940 г. | Скульптура с цветом (темно-синий и красный) | смесь |
| 1943 г. | Овальная скульптура | гипсовый материал |
| 1943-44 гг. | Волна | дерево, краска и веревка |
| 1944 г. | Пейзажная скульптура | дерево (отлитое из бронзы , 1961 г.) |
| 1946 г. | пелагос | дерево, краска и веревка |
| приливы | дерево и краска | |
| 1949 г. | Операция: дело для обсуждения | масло и карандаш на прессованном картоне |
| 1951 г. | Группа I (Зал) 4 февраля 1951 г. | Мрамор Серравецца |
| 1953 г. | Иероглиф | Анкастер Стоун |
| 1954-55 | Две фигуры | тик и краска |
| 1955 г. | Овальная скульптура (Делос) | пахучее дерево гуарея и краска |
| 1955-56 | Корей | бронза |
| 1956 г. | Орфей (Макет), Версия II | латунная и хлопковая веревка |
| Струнная фигурка (Кроншнеп), Версия II | латунная и хлопковая веревка | |
| 1958 г. | петь домино | бронза |
| Морская форма (Портмеор) | бронза | |
| 1960 г. | Фигура для пейзажа | бронза |
| археон | бронза | |
| 1962-63 гг. | Бронзовая форма ( Патмос ) | бронза |
| 1964 г. | Рок-Форма (Порткерно) | бронза |
| Морская Форма (Атлантика) | бронза | |
| 1966 г. | Фигура в пейзаже | бронза на деревянной основе |
| Прогулка по четырем квадратам | бронза | |
| 1968 г. | Две фигуры | бронза |
| 1970 г. | Семья человека | бронза |
| 1971 г. | Эгейский люкс | серия гравюр |
| летний танец | окрашенная бронза | |
| 1972 г. | Минойская голова | мрамор на деревянной основе |
| Сборка морских форм | из белого мрамора на основании из нержавеющей стали | |
| 1973? | Разговор с волшебными камнями | бронза и серебро |
Вдохновение, техника и стиль
Пейзажная скульптура, Барбара Хепворт, 1944 год, отлита в 1961 году. \ Фото: kooness.com.
Слева направо: Двойная форма в Гилдхолле Сент-Айвса, Барбара Хепворт. \ Скальная форма (Порткурно), Барбара Хепворт, 1964 год, Франклин-Паркуэй, Филадельфия, Пенсильвания.
Слева направо: Барбара Хепворт, работающая в студии Palais, 1963 год. \ Мать и дитя, Барбара Хепворт, 1927 год.
Две формы, Барбара Хепворт, 1969 год, Сент-Айвз. \ Фото: hy.wikipedia.org.
Сооружение (Распятие): Дань уважения Мондриану, Барбара Хепворт, 1966 год, возле Винчестерского собора. \ Фото: google.com.
Слева направо: Проколотое полушарие II, Барбара Хепворт, 1937-8 гг. \ Квадраты с двумя кругами, Барбара Хепворт, 1963 год. \ Фото: yandex.ru.
Коринф (скульптура из дерева гуарея), Барбара Хепворт, 1954-55 гг. \ Фото: google.com.
Commissions
In 1951 Hepworth was commissioned by the Arts Council to create a piece for the Festival of Britain. The resulting work featured two Irish limestone figures entitled, «Contrapuntal Forms» (1950), which was displayed on London’s South Bank. To complete the large-scale piece Hepworth hired her first assistants, Terry Frost, Denis Mitchell, and John Wells.
From 1949 onwards she worked with assistants, sixteen in all. One of her most prestigious works is Single Form, which was made in memory of her friend and collector of her works, the former Secretary General Dag Hammarskjöld, and which stands in the plaza of the United Nations building in New York City. It was commissioned by Jacob Blaustein, a former United States delegate to the U.N., in 1961 following Hammarskjöld’s death in a plane crash.
#1 SHE STUDIED AT THE ROYAL COLLEGE OF ART
Born on 10 January 1903 in the city of Wakefield in West Yorkshire, England, Jocelyn Barbara Hepworth was the eldest child of Herbert Hepworth and his wife Gertrude. Her father Herbert was a civil engineer who became County Surveyor in 1921. At the age of 15 Barbara decided to become a sculptor. She did her early education at the Wakefield Girls’ High School before joining the Leeds School of Art in 1919. She then won a scholarship to the prestigious Royal College of Art (RCA), where she studied from 1921 to 1924
Barbara Hepworth as a baby with her parents, paternal grandmother and paternal great-grandmother
#9 BARBARA HEPWORTH DIED DUE TO A FIRE AT HER TREWYN STUDIO
In 1949, Hepworth bought the Trewyn Studio in the town of St Ives in in Cornwall, England. It was here that she lived and worked from December 1950 till her death on 20 May 1975. Her death resulted from an accidental fire at her Trewyn Studio. She was 72 years old. Her studio at St Ives is now the Barbara Hepworth Museum and is managed by the Tate gallery. Her son with John Skeaping, Paul, was killed in February 1953 in a plane crash while serving with the Royal Air Force in Thailand. Two of her three children with Ben Nicholson, Rachel and Simon went on to become artists.
Barbara Hepworth working on ‘Curved Form, Bryher II’ (1961)
References
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- Lua error in package.lua at line 80: module ‘strict’ not found. Retrieved 29 January 2014.
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- John Skeaping 1901–80: A Retrospective (exhibition catalogue). London: Arthur Ackermann and Son, 1991, p. 7
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- The London Gazette: . 4 June 1965. Retrieved 16 October 2010.
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Barbara Hepworth and Ben Nicholson
When Hepworth met Nicholson in 1931, her marriage with Skeaping was already in crisis. The sculptor and the painter soon became lovers and in the spring of 1932, Nicholson moved into her working facilities in Hampstead in north London. Over the next few years, the two engaged in a kind of collaboration as they made work apparently in dialogue with each other. “I met Ben Nicholson, and as painter and sculptor each was the other’s best critic.” Hepworth’s profile became a recurring subject in Nicholson’s paintings, prints and fabric designs, and she similarly incorporated into her carvings incised lines to describe faces, hands and other parts of the body, single or intertwined. The two took photographs of each other and of each other’s work. These photographs showed the artists with new sculptures and paintings as well as those made before they had met. On October 3, 1934, she gave birth to triplets: Simon, Rachel and Sarah Hepworth-Nicholson. Following his divorce from his first wife, Winifred, Barbara and Ben got married in November 1938. Their marriage was dissolved in October 1951.
Galleries holding her work
There are two major museums dedicated specifically to the art of Barbara Hepworth: the Barbara Hepworth Museum in St Ives and the Hepworth Wakefield in West Yorkshire.
Her work also may be seen at:
- The University of Liverpool
- The University of Birmingham,
- St Catherine’s College, Oxford,
- Cardiff University School of Music,
- Yorkshire Sculpture Park in West Bretton, West Yorkshire
- Clare College,
- Churchill College
- Murray Edwards College (formerly New Hall),Cambridge
- Snape Maltings, Snape, Suffolk
- On the facade of the John Lewis department store, part of the John Lewis Partnership, on Oxford Street (see photograph)
- The Mander Centre, Wolverhampton (removed 2014)
- Kenwood House
- Outside the Norwich Playhouse
- On the grounds of Winchester Cathedral next to The Pilgrims’ School
- Leeds Art Gallery
- Tate Gallery
- Kröller-Müller Museum
- Pier Art Gallery in Stromness
- Museum of New Zealand Te Papa Tongarewa in Wellington, New Zealand
- Lynden Sculpture Garden
Marble portrait heads dating from London, ca. 1927, of Barbara Hepworth by John Skeaping, and of Skeaping by Hepworth, are documented by photograph in the Skeaping Retrospective catalogue, but are both believed to be lost.