Frederick E. McWilliam HRUA RA (1909 - 1992) Women of Belfast, No....
Frederick E. McWilliam HRUA RA (1909 - 1992)
Women of Belfast, No. 13
Bronze, 36cm long x 14cm high x 20cm deep (14¼ x 5½ x 8''), edition of 5
Provenance: Purchased from Elizabeth Guinness in 1989...
Frederick E. McWilliam HRUA RA (1909 - 1992)
Women of Belfast, No. 13
Bronze, 36cm long x 14cm high x 20cm deep (14¼ x 5½ x 8''), edition of 5
Provenance: Purchased from Elizabeth Guinness in 1989 by the current owners;
Collection of Finbarr & Moyra O'Donovan
Working in series’ is not unique to McWilliam, artists often fixed upon one theme for a number of years, producing a range of work based around the same subject matter. This method of creation often acted as a way of working through an idea, by making repeated works of a single form, in McWilliams case the female body. His Women of Belfast series (1972 - 1975) changed over the course of the three years, his initial figures were unclothed, he later added the drapery for a more realistic effect. As a response to the sectarian violence of ‘The Troubles’, McWilliams figure of a woman thrown to the ground in the aftermath of an explosion represents the scores of civilian casualties in Northern Ireland. An exhibition of the entire series including No. 13 was held at the Waddington Gallery, Cork Street in London in 1973.
His inspiration for the work came from images in the media following the bombing of Abercorn restaurant in Belfast in March 1972. Of the two fatalities, both were women, which may indicate why McWilliam decided to depict the female casualties rather than male. Equally, the series was an expression of how often in times of conflict, it is women and children who become victims of these senseless atrocities. The female figures act as a representation of the private domestic world which has been forcefully intruded upon by these public acts of violence. As sensitive as the subject matter is it always difficult to reflect on the aesthetic qualities of the work. The sculptures are in many ways profoundly tragic, yet art at its most powerful should be emotive and it raises the difficult question of how, as an artist, to respond to this suffering. In the work McWilliam is bearing witness to these victims.
In this present example, the figure is captured by McWilliam, just at the moment before her body hits the ground. She is thrown backwards, one leg extending out before her the other bent at the knee, bracing herself against the blast. Her shoe hangs precariously off her extended leg. The base for the figure is delineated in such a way as to create an almost a two dimensional impression of the body above, a sense of depth below her into which she will inevitably fall. The texture of the bronze captures the force of the explosion, her dress flattened against her body, hands raised instinctively to protect her head and face. The indecency and complete violation of her body is expressed by her dress lifted almost beyond her waist. McWilliam had never before used his sculpture to directly comment on political or social issues of his country of birth, but moved by the tragedy he felt compelled to create the series, which after nearly fifty years since its inception, holds an undeniable power.
Niamh Corcoran
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Frederick E. McWilliam HRUA RA (1909 - 1992)
Women of Belfast, No. 13
Bronze, 36cm long x 14cm high x 20cm deep (14¼ x 5½ x 8''), edition of 5
Provenance: Purchased from Elizabeth Guinness in 1989...
Frederick E. McWilliam HRUA RA (1909 - 1992)
Women of Belfast, No. 13
Bronze, 36cm long x 14cm high x 20cm deep (14¼ x 5½ x 8''), edition of 5
Provenance: Purchased from Elizabeth Guinness in 1989 by the current owners;
Collection of Finbarr & Moyra O'Donovan
Working in series’ is not unique to McWilliam, artists often fixed upon one theme for a number of years, producing a range of work based around the same subject matter. This method of creation often acted as a way of working through an idea, by making repeated works of a single form, in McWilliams case the female body. His Women of Belfast series (1972 - 1975) changed over the course of the three years, his initial figures were unclothed, he later added the drapery for a more realistic effect. As a response to the sectarian violence of ‘The Troubles’, McWilliams figure of a woman thrown to the ground in the aftermath of an explosion represents the scores of civilian casualties in Northern Ireland. An exhibition of the entire series including No. 13 was held at the Waddington Gallery, Cork Street in London in 1973.
His inspiration for the work came from images in the media following the bombing of Abercorn restaurant in Belfast in March 1972. Of the two fatalities, both were women, which may indicate why McWilliam decided to depict the female casualties rather than male. Equally, the series was an expression of how often in times of conflict, it is women and children who become victims of these senseless atrocities. The female figures act as a representation of the private domestic world which has been forcefully intruded upon by these public acts of violence. As sensitive as the subject matter is it always difficult to reflect on the aesthetic qualities of the work. The sculptures are in many ways profoundly tragic, yet art at its most powerful should be emotive and it raises the difficult question of how, as an artist, to respond to this suffering. In the work McWilliam is bearing witness to these victims.
In this present example, the figure is captured by McWilliam, just at the moment before her body hits the ground. She is thrown backwards, one leg extending out before her the other bent at the knee, bracing herself against the blast. Her shoe hangs precariously off her extended leg. The base for the figure is delineated in such a way as to create an almost a two dimensional impression of the body above, a sense of depth below her into which she will inevitably fall. The texture of the bronze captures the force of the explosion, her dress flattened against her body, hands raised instinctively to protect her head and face. The indecency and complete violation of her body is expressed by her dress lifted almost beyond her waist. McWilliam had never before used his sculpture to directly comment on political or social issues of his country of birth, but moved by the tragedy he felt compelled to create the series, which after nearly fifty years since its inception, holds an undeniable power.
Niamh Corcoran
Sale price
Estimate
Time, Location
Auction House
