Elisabeth Frink was an English sculptor and printmaker and a leading light in the post-war British Modernist movement. A native of Suffolk, Frink studied at the Guildford School of Art (1946 -1949) and with Bernard Meadows at the Chelsea School of Art (1949 -1953). Among her contemporaries in British sculpture of that era, were Reg Butler, Lynn Chadwick, Bernard Meadows and her friend Eduardo Paolozzi.. Despite her love of natural forms, Frink’s range of subjects could still be wide and varied and included men, birds, dogs, horses, religious and psychological/social motifs. ‘Bird’ (1952; London, Tate Gallery), with its alert, menacing stance, characterizes her early work in both terms of uncompromising form and natural drama. As her career progressed she concentrated on bronze outdoor sculpture (mostly life sized) with a ‘scarred’ surface created by repeatedly coating an armature with wet plaster and scrim; each coating is distressed and broken, eliminating or degrading specific detail and generalizing form. In the 1960s Frink’s long standing fascination with flight was to the fore with the creation of a series of falling figures and winged men. She moved to France from 1967 to 1970, where she began a series of intimidating, cypher-like, goggled male heads, iconic and often emotionally empty. On returning to England, she focused on the male nude, barrel-chested, with almost mask-like features, attenuated limbs and a pitted surface, a prime example of this period in her work is ‘Running Man’ (1976; Pittsburgh, PA, Carnegie Mus. A.). Frink’s sculpture, and her lithographs and etchings created as book illustrations, drew on archetypes expressing masculine strength, struggle and aggression. The relationship between the human and animal kingdoms takes up a continuous thread in Frink’s output. In her male nudes it is impossible not to be struck by the corporeal.... Continued at http://iillo.tumblr.com/post/3660708784/darksilenceinsuburbia-elisabeth-frink-red-dog undefined

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