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Frank Dobson - 'Bring it Alive', 2022
By Frank Dobson
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Frank Dobson was born in London on 18 November, 1886. The son of a commercial artist, he showed early promise and won an art scholarship aged eleven. On leaving school at the age of fourteen he became a studio assistant to the sculptor William Reynolds Stevens. He then studied at Hospitalfield Art School in Scotland. His work was influenced by his exposure to the modernist art shown in Roger Fry’s landmark exhibition of 1910-11. After spending World War 1 in the Artists Rifles, he showed his first sculptures in Wyndham Lewis’s 1920 Group X exhibition.
Over the years he moved from his early Cubist-inspired sculpture to a more lyrical style based on the female nude form. He also produced a series of notable portrait busts. His work was praised by Roger Fry as ‘true and pure sculpture’ and the critic Clive Bell described his Cornucopia as ‘the finest piece of sculpture which has been produced by an Englishman’
After World War II he was appointed professor of Sculpture at the Royal College of Art and awarded the CBE.
Over the years he moved from his early Cubist-inspired sculpture to a more lyrical style based on the female nude form. He also produced a series of notable portrait busts. His work was praised by Roger Fry as ‘true and pure sculpture’ and the critic Clive Bell described his Cornucopia as ‘the finest piece of sculpture which has been produced by an Englishman’
After World War II he was appointed professor of Sculpture at the Royal College of Art and awarded the CBE.
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About the Work
Softback book, 108 pages
‘Frank Dobson’s sculptures are vivid with life, but also sought stability and formal completeness. His work engaged with emotion, but was not tortured in any way, moving more towards serenity than anguish. Art was a sanctuary from the chaos of life, and he loved swelling and ebbing forms, oceanic in their grandeur.’
In this latest Goldmark book, esteemed art critic and writer Andrew Lambirth re-evaluates the long neglected legacy of Frank Dobson. Lambirth’s new text examines the breadth of Dobson’s career, from early plaudits to wartime interruptions, explores Dobson’s enduring fascination with the female figure, and finds in his art a key transitional figure in British sculpture, to whom the generation of Moore and Hepworth owed an unacknowledged debt:
‘Whether worked in stone, plaster, terracotta or bronze, his figures have an architectural quality, but are also of the earth. Their apparent simplicity masks a formal complexity, but a complexity that has a beguiling naturalness to it. The mood is gentle and sensuous, but serious, and the best work possesses both grace and grandeur.’
Andrew Lambirth (born 1959) is a writer, critic and curator. He has written on art for a number of publications including The Sunday Telegraph, The Spectator, The Sunday Times, Modern Painters and the Royal Academy magazine.
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