Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.

Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.

Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.

Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.

Sculpture of the Day: St. George, a Model, 1895

Model Study for a figure of St. George
The beginnings of "the dragon" can be seen around the wooden base.
SIr Alfred GIlbert, 1895
The Victoria & Albert Museum

The “New Sculpture” movement of the late Nineteenth Century called for a focus on naturalistic forms and urged sculptors to experiment with new media. Perhaps the most eager of those sculptors who supported the movement was Sir Alfred Gilbert who seems to have had a fascination with the theme of St. George and the Dragon.

This model was made of wax and plasticine as a suggestion for a sculpture group of St. George and the Dragon which was to surmount the silver Rose-water Ewer and Dish which was presented to King George V (while still Duke of York) upon his marriage to Princess May of Teck (later Queen mary) in 1896. We’ll be taking a look at the Rose-water set later I nthe week. 

The figures mated to the finished Rose-water set don’t exactly match these earlier models and studies, so, we can see that Gilbert altered the sculptures considerably. A perfectionist, Gilbert (1854-1934), was also known as a medallist, goldsmith and draftsman. He took these commissions quite seriously and strove to be a fitting representative for the “New Sculpture” Movement.