Skip to Main Content

Lynn Chadwick

British, 1914–2003

1,305 followers
Follow

Lynn Chadwick

British, 1914–2003

1,305
Followers
Biography

Lynn Chadwick was part of a generation of British sculptors who surprised audiences at the 1952 Venice Biennale by breaking with the tradition of carving sculpture from wood or stone. Instead, he welded iron and bronze rods into expressionistic, figurative works inspired by the human form and animals that nonetheless hovered close to abstraction. In his New York Times obituary, Ken Johnson noted, “In the 1950's [Chadwick] developed a spiky vocabulary of skeletal lines and rough planes organized into generalized images of people or animals that evoked feelings of pain, rage and fear.” He rejected what he saw as the amorphousness of stone, preferring to work with iron because it allowed him to “do a three dimensional drawing…which has a very definite shape.” In that sense, his work shared something with architecture, the field he originally pursued in his early career.

Related Categories
Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
Auction
High auction record
£3m, Sotheby's, 2018
User
Solo show at a major institution
Tate Britain
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 2 more
Institution
Collected by a major institution
Tate, and 1 more
Publication
Reviewed by a major art publication
Artforum, and 2 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 2 more
Biography

Lynn Chadwick was part of a generation of British sculptors who surprised audiences at the 1952 Venice Biennale by breaking with the tradition of carving sculpture from wood or stone. Instead, he welded iron and bronze rods into expressionistic, figurative works inspired by the human form and animals that nonetheless hovered close to abstraction. In his New York Times obituary, Ken Johnson noted, “In the 1950's [Chadwick] developed a spiky vocabulary of skeletal lines and rough planes organized into generalized images of people or animals that evoked feelings of pain, rage and fear.” He rejected what he saw as the amorphousness of stone, preferring to work with iron because it allowed him to “do a three dimensional drawing…which has a very definite shape.” In that sense, his work shared something with architecture, the field he originally pursued in his early career.

Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
Auction
High auction record
£3m, Sotheby's, 2018
User
Solo show at a major institution
Tate Britain
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 2 more
Institution
Collected by a major institution
Tate, and 1 more
Publication
Reviewed by a major art publication
Artforum, and 2 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 2 more
Shows Featuring Lynn Chadwick
Articles Featuring Lynn Chadwick
25 Artists Ring In Baker Sponder’s 25th Anniversary
Apr 27th, 2015
25 Artists Ring In Baker Sponder’s 25th Anniversary
Navigate right