Public Commemoration and Representation Post-1945: The Sculpture of Ivor Roberts-Jones (1913-1996)

1945 年后的公众纪念和再现：艾弗·罗伯茨-琼斯的雕塑（1913-1996）

• 批准号: AH/H038973/1
• 负责人: Jonathan Black
• 金额: $ 21.35万
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2010
• 资助国家: 英国
• 起止时间: 2010 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH038973%2F1
• 关键词: Public; Commemoration; Representation; Post; 1945

This project seeks to enhance understanding of post-1945 public sculpture in Britain through the first in-depth critical study of the artistic production of Welsh-born sculptor Ivor Roberts-Jones RA (1913-1996): a founder member, in 1953, of the Society of Portrait Sculptors and a champion of traditional figurative sculptural forms. During his career Roberts-Jones was held in high esteem by his artistic peers, within the Royal Academy and by the public at large, for major public commissions in bronze such as: the Augustus John Memorial at Fordingbridge in Hampshire (1964-67), the full-length figure of Sir Winston Churchill in Parliament Square, London (1970-73) and the full-length figure of Field Marshal Viscount Slim in Parliament Street, London (1987-1990). His work regularly featured in prominent exhibitions of sculpture embracing a wide variety of media supported by the Arts Council and he received over 25 commissions from the National Museum of Wales to produce portrait heads and busts of prominent Welsh personalities over a quarter of a century. He, furthermore, proved an influential teacher: students of his have produced major UK public sculptures such as: the National Women's Memorial, London by J.W. Mills (2005) and Sir John Betjeman, St. Pancras Railway Station by M. Jennings (2007). In spite of his sculptural achievements and legacy, Roberts-Jones's significant contribution to post-1945 British art and accompanying debates on nation, commemoration, and the purpose of public art, has received surprisingly little scholarly attention. Based upon extensive original archival research, including unpublished artist's letters, drawings, annotated photographs and sculpture models, this project will examine the view widely aired at his death that Roberts-Jones produced some of the most impressive and memorable examples of major commemorative public sculpture in bronze in post -1945 Europe. For the first time, his portraiture - in the collections of the National Museum of Wales, the National Portrait Gallery and the Tate Gallery, London - and his public memorials will be properly assessed within a Western European modernist sculptural tradition that embraces such distinguished practitioners as: Maillol, Epstein, Frink, Marini and Belsky. In addition, the series of subtle heads of blind subjects Roberts-Jones produced in bronze and plaster between the 1960's and '80's, will be related to a 20th Century tradition of portraiture developed by Fautrier as well as to contemporary debates exploring how the unsighted, or partially sighted, imagine their facial appearance: - what Roberts-Jones termed their 'private geographies.' The project examines Roberts-Jones's portraiture and public commemorative work in relation to current debates surrounding: the nature of 'Britishness'; the evolution of Welsh national identity; the problematic relationship between public art and Britain's imperial past (especially with respect to his imagining of Winston Churchill), and the contribution his monumental figuration made to the formulation of an officially sponsored discourse of supposedly 'heroic' normative masculinity such as his figures of WWII Field Marshals Slim and Alanbrooke. The impact Roberts-Jones had on the future development of representational trends within British sculpture, in his capacity as Head of Sculpture at Goldsmith's College, will also be explored. An assessment will be provided of the artist's legacy and his continuing relevance in relation to the public commemorative sculpture through such contemporary practitioners as N. Boonham, E. Milner, J.W. Mills and M. Jennings.The project will include a series of national and regional exhibitions and displays with accompanying texts, public talks and 2 one-day conferences, It will culminate in a display at the National Library of Wales, Aberystwyth. Through this means, maximised by media coverage, research will be disseminated to an exceptionally broad audience.

该项目旨在通过对威尔士出生的雕塑家Ivor Roberts-Jones RA（1913-1996）艺术作品的首次深入批判性研究，提高对1945年后英国公共雕塑的理解。Ivor Roberts-Jones RA是1953年肖像雕塑家协会的创始成员，也是传统形象雕塑形式的拥护者。在他的职业生涯中，罗伯特-琼斯受到了他的艺术同行，皇家学院和广大公众的高度尊重，主要的公共青铜委托，如：汉普郡福丁桥的奥古斯都·约翰纪念像（1964-67），伦敦议会广场的温斯顿·丘吉尔爵士全身像（1970-73）和伦敦议会街的陆军元帅子爵斯利姆全身像（1987-1990）。在艺术委员会的支持下，他的作品经常出现在著名的雕塑展览中，包括各种各样的媒体，他接受了威尔士国家博物馆超过25个委托，在25年的时间里为威尔士著名人物制作头像和半身像。此外，他被证明是一位有影响力的老师：他的学生制作了英国主要的公共雕塑，如：J.W.米尔斯（2005年）的伦敦国家妇女纪念碑和詹宁斯（2007年）的约翰·贝杰曼爵士的圣潘克拉斯火车站。尽管他的雕塑成就和遗产，罗伯特-琼斯对1945年后英国艺术的重大贡献，以及随之而来的关于国家、纪念和公共艺术目的的辩论，却很少得到学术界的关注。基于广泛的原始档案研究，包括未发表的艺术家信件、图纸、带注释的照片和雕塑模型，该项目将检验在他去世时广泛传播的观点，即罗伯茨-琼斯创作了1945年后欧洲一些最令人印象深刻、最令人难忘的主要纪念公共青铜雕塑。他的肖像——收藏于威尔士国家博物馆、国家肖像画廊和伦敦泰特美术馆——以及他的公共纪念馆——将首次在西欧现代主义雕塑传统中得到恰当的评估，这一传统包括马约尔、爱泼斯坦、弗林克、马里尼和贝尔斯基等杰出的从业者。此外，罗伯特-琼斯在20世纪60年代至80年代用青铜和石膏制作的一系列微妙的盲人头部作品，将与20世纪福特里耶（Fautrier）发展的肖像传统有关，也与当代探讨盲人或部分视力者如何想象自己的面部形象的辩论有关：罗伯茨-琼斯称之为他们的“私人地理”。该项目考察了罗伯茨-琼斯的肖像和公共纪念作品，这些作品与当前的争论有关：“英国性”的本质；威尔士民族认同的演变；公共艺术与英国帝国历史之间有问题的关系（尤其是他对温斯顿·丘吉尔的想象），以及他的不朽形象对官方赞助的所谓“英雄”规范男子气概话语的形成所做出的贡献，比如他的二战陆军元帅斯利姆和艾伦布鲁克的形象。罗伯茨-琼斯在担任戈德史密斯学院雕塑系主任期间，对英国雕塑未来代表性趋势发展的影响也将被探讨。我们将通过当代艺术家N. Boonham、E. Milner、J.W. Mills和M. Jennings来评估这位艺术家的遗产，以及他与公共纪念雕塑的持续相关性。该项目将包括一系列国家和地区的展览和展示，并附带文本、公共演讲和2天的会议，最终将在阿伯里斯特威斯的威尔士国家图书馆展出。通过这种手段，再加上媒体的最大限度报道，研究成果将传播给极为广泛的受众。

项目成果

Abstraction and Reality: The Sculpture of Ivor Roberts-Jones [135,000 words; 260 Illustrations]

抽象与现实：艾弗·罗伯茨-琼斯的雕塑[135,000字；

• 作者: Black, J. A.A (and Ayres, S.)

'Icon-Maker: Ivor Roberts-Jones (1913-1996) and Public Sculpture in and around the Palace of Westminster' (4,000 words)

“图标制造者：艾弗·罗伯茨-琼斯（1913-1996）和威斯敏斯特宫及其周围的公共雕塑”（4,000 字）

• 发表时间: 2014
• 期刊: The PMSA Magazine and Newsletter
• 作者: Black, J.A.A.

Power and Beauty: The Art of Sir Oswald Birley

力量与美丽：奥斯瓦尔德·伯利爵士的艺术

• 发表时间: 2017
• 作者: Black, J.

The Titan With Many Faces: Winston Churchill in British Art, 1900 To The Present Day (60,000 words and 140 plates)

多面泰坦：英国艺术中的温斯顿·丘吉尔，1900 年至今（60,000 字和 140 个图画）

• 发表时间: 2017
• 作者: Black J A A