Frederick Edward McWilliam, R.A. Twisted Form

Frederick Edward McWilliam, R.A.
1909 - 1992
Twisted Form

signed with initials by the base
cherrywood on a stone base
height: 58 cm.; 22 3/4 in.
Executed in 1935.

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Frederick Edward McWilliam, R.A.
1909 - 1992
Twisted Form

signé avec initiales à bas
bois de cherisier sur socle en pierre
hauteur: 58 cm.; 22 3/4 in.
Exécuté en 1935.

Condition Report:
The sculpture is sound. There are some stable splits in the wood, along the grain. There is some rubbing to the extremities of the sculpture in places. There are are a couple of small nicks and scratches. The work is in overall good condition.

Catalogue Note:
When Frederick Edward McWilliam arrived at the Slade School of Fine Art, in 1928, the education adhered to an incredibly traditional model. The focus within the sculptural school was on torsos and the avoidance of the peripheral assets. This decidedly anti-modern approach naturally encouraged McWilliam’s practice to focus on these more challenging components. He began working on forms which had an almost abstract quality, suggesting the monumental and grandiose much like ancient Egyptian fragments of feet and hands. During this period he also fell under the influence of Surrealism, most notably the work of Constantin Brancusi and Hans Arp.

He spent a year in Paris in 1932 and it was upon his return to London that the first of his wooden sculptures appear. He became fascinated by archaic and “primitive” sculpture which he had been exposed to in Parisian museums and collections, and also the power that art possesses to convince the viewer of its own mysterious vitality. These beautiful flowing shapes, although the result of incredibly studied application, were supposed to be totally distinct from their author. His practice was dominated by the premise that one shouldn’t need to know anything about the biography of an artist to appreciate the works quality. Similarly the contrast in Brancusi’s work between the rigorous refinement of the works against the peasant like subject matter appealed the McWilliam.

It is within these ideologies that Twisted Form was created. The ambiguity of the subject matter incorporates this Surrealist character, as it has a human quality, but could also be bestiary. The grain of the wood partially dictating the character of the sculpture, and the artist being led by forces outside of his control. It was during this period that McWilliam really begins to display his technical mastery, and sense of touch becomes just as important as sight. This is a real masterpiece from McWilliam's modern period.

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Lorsque Frederick Edward McWilliam arrive à la Slade School of Fine Art, en 1928, l’enseignement adhérait à un modèle très traditionnel. L'école de sculpture se concentrait sur les torses et l'évitement des atouts en périphérie. Cette approche résolument antimoderne a naturellement encouragé la pratique de McWilliam à se concentrer sur ces éléments plus difficiles. Il a commencé à travailler sur des formes qui avaient une qualité presque abstraite, suggérant le monumental et le grandiose, un peu comme des fragments de pieds et de mains égyptiens antiques. Durant cette période, il subit également l'influence du surréalisme, notamment les travaux de Constantin Brancusi et Hans Arp.

Il passe un an à Paris en 1932 et c'est à son retour à Londres qu'apparaissent ses premières sculptures en bois. Il est fasciné par la sculpture archaïque et « primitive » à laquelle il a été exposé dans les musées et collections parisiens, ainsi que par le pouvoir que possède l'art de convaincre le spectateur de sa propre vitalité mystérieuse. Ces belles formes fluides, bien que résultant d’une application incroyablement étudiée, étaient censées être totalement distinctes de leur auteur. Sa pratique était dominée par le postulat selon lequel il ne faut pas avoir besoin de connaître la biographie d’un artiste pour apprécier la qualité de ses œuvres. De même, le contraste dans l’œuvre de Brancusi entre le raffinement rigoureux des œuvres et le sujet paysan a séduit McWilliam.

C’est au sein de ces idéologies que Twisted Form a été créé. L'ambiguïté du sujet intègre ce caractère surréaliste, car il a une qualité humaine, mais pourrait aussi être un animal. Le grain du bois dicte en partie le caractère de la sculpture et l'artiste est dirigé par des forces indépendantes de sa volonté. C'est à cette époque que McWilliam commence réellement à démontrer sa maîtrise technique, et le sens du toucher devient tout aussi important que la vue. Il s'agit d'un véritable chef-d'œuvre de la période moderne de McWilliam.

Provenance:
Waddington Galleries, London, stock no. B12919

Private Collection

Sale, Morgan O'Driscoll, Cork, 24 October 2023, lot 81, where acquired by the present owner

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Waddington Galleries, Londres, stock no. B12919

Collection...