AbstractThis thesis examines the making of sculpture and the identity of Eric Gill in the first half of the twentieth century. A period of complex practical and theoretical innovation in Britain, histories have tended to be simplified, focussing on the idea of direct carving as an autonomous and isolated process. Gill was a key figure in this period and his persona as an isolated craftsman and art-world exile has precluded balanced accounts of the collaborative nature of his work.
|Date of Award||Dec 2013|
Workshop practices and the making of sculpture: authorship and collaboration in the work of Eric Gill, 1909 to 1940
Cribb, R. (Author). Dec 2013
Student thesis: Doctoral Thesis