The name of this piece of art is High Wind - Maquette III. It has been created with the dimension of 25 x 12 x 14”. This sculpture is drawn from the permanent collection of Philip and Muriel Berman Museum. This art work was created in 1980 by Lynn Chadwick. It represents a figure of a woman that has been taken as a metaphor for wind in this sculpture.
About the Artist
Lynn Chadwick was born in London in 1914. At 19, after being formed, it is the design of architecture in London, until 1939. He spent the war between Canada and the United States. In 1940, he had been working in agriculture for a year (Robertson, McDaniel, 2010, 5-27). In 1947 he moved to Gloucestershire and became a freelance designer. It was at this time, he began making mobiles, one in aluminum and wood, will be presented at the Aluminum Development Stand at the exhibition Builders' Trades. It was in 1950; Lynn Chadwick made ??his first solo exhibition at the gallery Gimpel son to London. Until 1954, he produced a large number of works very different: mobile, furniture, and textile (Robertson, McDaniel, 2010, 5-27). Chadwick did not study sculpture and fine arts but began studying architecture, he left soon but would work with several architects on various projects both commercial and government.
His experience with tubular assemblies while designing Aluminum stands for Development Association helped him create his first piece of work shortly after the U.S. much more famous Alexander Calder, which he said had not seen before (Chadwick, 1991, 25-36). Lynn Chadwick was inspired by the atmosphere of the moment: during the Cold War, his sculptures were often endowed with forms reminiscent of the wings of birds or fins of fish, the forms described by Herbert Read as "the geometry of the afraid.” Gradually, the sculptures are "relaxed" (as the atmosphere): Lynn Chadwick's characters find themselves in positions much more peaceful.
The geometry of the sculpture is fine and sharp showing clear liens and the shapes. The shade of light and dark colors complements each other making a dreamy image.
The figure is reclining in the manner of classical sculpture, by combining the power rested with elements and majesty. The look creates volumes that are related to organic architecture, the development of curved and wavy profiles that define a very careful study of nature. Everything is spinning in circles surround. Lynn Chadwick is one of the first sculptors working in the empty, hollow frame. In his own words, "air sculpture is possible: the stone or wood is limited to surround the hole, which is the main figure." The figure works like architecture and takes on a monumental, albeit in smaller proportions. The body's shapes is diluted, merged into a continuous aspect, which gives a closed figure, around the hole, or holes, which are the true object of the composition (Boime, 2004, 9-11).
Chadwick was inspired as well as in natural forms, in primitive art, ...