Word: sculptors
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Dates: during 1950-1959
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...mainstream of news consists not only of the efforts and activities of statesmen. Indeed, such efforts and activities can be supported only by the currents of thought and culture springing from man's mind. This week TIME'S cover subject, British Sculptor Henry Moore, provides a significant case in point...
...Sculptor Henry Moore sits in an aged wicker chair on a crumpled cushion. He is small and compact (5 ft. 7 in., 154 Ibs.), with a high-domed face that is benign yet cragged. Thinning strands of greying hair stretch errantly across his head. From beneath brows that jut at least an inch beyond pale blue eyes, he stares intensely at a small plaster shape held in his left hand. The right hand, thick-wristed and broad, with straight fingers that are surgically muscular, holds a small scalpel. In a few minutes, the chunk of thumb-shaped plaster takes...
Reaching for a smaller tool, the sculptor pares the head into an elongated, rectangular appendage, no larger than his thumbnail, perhaps one-twentieth the size of the body instead of nature's less than one-seventh. He pushes his own head backward and thrusts the piece forward, studying it with a frown. Then he pokes two tiny indentations to make the eyes. One or more such small maquettes, produced between breakfast and a 1 o'clock lunch, may prove the seed for another of the large reclining women or mother figures to which the mind of Henry Moore...
Pablo Picasso, 77, whom most people think of as a painter, is quite possibly the most original sculptor in history. Not content with carving and modeling, Picasso sculpts by a third method: combining. He will make a bull's head out of a bicycle seat, with handle bars for horns, or a pregnant goat from a palm branch (for the back), a wicker basket (for the belly) and flowerpot udders, or a monstrous monkey, using a toy automobile for a head, a beach ball for a body. Cast in bronze, the results are more invigorating than inspiring, but they...
David Smith, 53, is the best of the living "ironmongers." His raw, openwork constructions of iron, silver and stainless steel stem from Spanish ironwork by way of Gonzalez, but they have a peculiarly American urgency and, so to speak, a questioning emptiness. Smith is the idol of young American sculptor-welders, who find that they can follow his lead on a large scale without too great expense (a big cast-bronze monument may cost $50,000 to erect; a welded steel one as little as $500). Smith stays more inventive than any of his imitators...