This 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