- 13 October 2017
- 12:30 – 2:00 pm
- Seminar Room, Paul Mellon Centre
Renowned for his iconic portrayal of The Islanders (1951) at the Festival of Britain, Austrian émigré Siegfried Charoux (1896–1967) progressed his sculpture practice during the 1950s through a series of compositions which expanded his commitment to representing ‘ordinary working people’, social cohesion and companionship, resonant with post-war democratisation.
This presentation will analyse the factors that framed Charoux’s thematic concepts, preparatory symbolism, contextual cultural references and the prevailing aesthetic conflicts for twentieth-century public sculpture which informed the reception and legacy of his work. It will also explore the extent to which the influence of leading sculptors, including Henry Moore and Frank Dobson, may be considered as relevant for Charoux’s Maquette for The Neighbours commissioned for the innovative Patronage of the Arts Scheme. Subsequently we will assess the extent to which the maquette’s modernist mimetic was realised in the full-sized sculpture of The Neighbours (1959), exhibited at the Summer Exhibition of the Royal Academy of Arts 1959, prior to installation on the Quadrant at the Highbury Estate, Islington.
Credit for listing and banner image: Siegfried Charoux, Maquette for 'The Neighbours' (1957-59). Courtesy Leeds Museums and Galleries (Leeds Art Gallery) and Langenzersdorf Museum / Estate of Siegfried Charoux
About the speaker
Melanie Veasey is currently a Ph.D. candidate in the history of art supervised at Loughborough University by Professor Alison Yarrington and Dr Julia Kelly. Her thesis addresses the agency of the sculptors of the Royal Academy of Arts in response to the post-war ascendancy of the Arts Council. She has presented papers for the Henry Moore Institute and the Paul Mellon Centre and, as a volunteer, assisted the Henry Moore Foundation.
17 Nov 2017
Frederick Walker and the Idyllists – Unsung Masters of Victorian Art
24 Nov 2017
'Your Beautiful and Hopeful Family’: Dynasty, Duff House And the House of Duff
Paul Mellon Centre
08 Dec 2017
‘The Last Sad Testimony of Affection’: Portraiture as Remembrance in Eighteenth-Century Britain
Paul Mellon Centre