Woking, The Lightbox, 2D:3D – Discover the Art of Sculpture: Sculpture & Sculptors’ Drawings from The Ingram Collection, 1 February – 1 March 2008;
Woking, The Lightbox, Ways of Seeing, 15 January – 13 March 2011;
Woking, The Lightbox, Bodies! The Ingram Collection, 21 November 2015 – 31 January 2016;
London, Royal College of General Practitioners, Health and the Body, 3 March – 29 May 2016;
Hastings, Jerwood Gallery, Century: 100 Modern British Artists, 23 October 2016 – 8 January 2017;
London, Business Design Centre, London Art Fair Museum Partner, Ten Years – A Century of Art, 18 – 22 January 2017;
Kendal, Abbot Hall Art Gallery, Land | Sea | Life: A British Art Collection, 20 October 2017 – 17 February 2018;
Cookham, The Stanley Spencer Gallery, Counterpoint: Stanley Spencer and his contemporaries, 28 March – 3 November 2019;
Woking, The Lightbox, Collector’s Favourites (online exhibition), 1 June – 1 September 2020
Literature:
H.S. Ede, A Life of Gaudier-Brzeska, London, 1930 (another cast illustrated, p. 165);
H.S. Ede, Savage Messiah, London, 1931 (another cast illustrated, p. 191);
Horace Brodzky, Henri Gaudier-Brzeska, London, 1933 (another cast illustrated, p. 16);
Roger Cole, Burning to Speak, Oxford, 1978 (another cast illustrated, p. 85, no. 34);
H.S. Ede, A Way of Life, Kettle’s Yard, Cambridge University Press, 1984 (illustration of marble illustrated p. 201);
Evelyn Silber, Gaudier-Brzeska: Life and Art, London, 1996 (another cast illustrated, no. 64, p. 266)
Henri Gaudier-Brzeska moved to London from Orleans, in France in 1911. After attending Jacob Epstein’s studio in 1912, he pursued a more experimental vein in sculpture, attempting to hark back to its prehistoric origins – favouring a kind of geometrical purity in art. Maternity combines this with his earlier, more traditional training. This is one of Chris Ingram’s firm favourites. He says: “Of all the pieces in the collection, I think this is the most popular. It immediately appeals to those who know nothing about art, as well as to the aficionados, and it was produced by an artist who was dead by the age of 23. It’s beautifully smooth and rounded from all directions and this creates the overwhelming sense of tenderness. It is probably the most strokeable piece we have. Blind and partially-sighted visitors are invited to get to grips with it in this exhibition’s audio-described and touch tour, as well as a hands-on creative workshop.”
