Elisabeth frink
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Both horses and men are recurring subjects in Frink’s work. Her 'Horse and Rider' images are timeless, representing the shared qualities of both man and horse: intelligence, speed, courage and beauty. Her affection for horses stemmed from her childhood in Suffolk, where her father was a keen horseman, but it was her move to France in 1967 and her discovery of the horses of the Camargue that inspired her artistic interpretations. This is one of the earliest drawings in Frink’s 'Horse and Rider' series. Here his lips barely cover his teeth, rendering him particularly predatory and sinister. The artist identified strongly with human rights issues and felt compelled to produce images of Oufkir. A supporter of Amnesty International, Frink was profoundly affected not only by her own experience of war but also by the stories of the French farmers she met who were forced to leave Algeria due to the Algerian War. Leading government-sponsored efforts to repress political protests through killings, disappearances and show trials, Oufkir was convicted for the murder of Mehdi Ben Barka – the leader of the Moroccan Independence Movement. Holding various positions such as Interior Minister, Minister of Defense and Chief of the Armed Forces, Oufkir was a powerful figure in Morocco during the 1960s and 70s. The menacing subject of this work is derived from an image of General Mohammed Oufkir, whose dark glasses symbolised for Frink his ‘blind stare’. Reflecting the breadth of the major themes in the artist’s work, here are a few collection highlights:Įlisabeth Frink (1930–1993) The Ingram Collection of Modern British and Contemporary Art Central to The Ingram Collection’s significant holding of Frink’s work are 18 drawings that we are delighted to display on Art UK. While Frink is probably best known for her sculptures, which can be seen throughout the UK in town centres and religious buildings such as Salisbury Cathedral, she was also a superb draughtsman. But a spate of recent exhibitions has marked an overdue re-appraisal of her work. Because she set herself apart in this way, Frink has sometimes been overlooked in the past. When the fashion for abstraction took hold in the 1960s, Frink moved to France where she concentrated on her own work and refused to be influenced by the London art world. Her resolution to work in bronze in the figurative tradition was in opposition to the fashion of the time, which tended more towards the abstract and the use of experimental media (epitomised by artists such as Anthony Caro and Eduardo Paolozzi). The expressiveness of her surfaces serve to heighten this working the plaster over and over again with her own hands rather than employing studio assistants, Frink developed her own signature style in bronze which marked the energy she put into making her sculptures.
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Some are brutal and some frightening – conveying the physical power of the subject and evoking an emotional response in the viewer. She was one of five ‘Women of Achievement’ selected for a set of British stamps.The sculpture of Elisabeth Frink (1930–1993) ranges from male figures and disembodied heads to horses, eagles and other animals. Right now, we don’t have much information about Education Life.
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Elisabeth Frink was born on November 14, 1930, in England. English sculptor and printmaker whose work exhibited themes of the nature of Man, horses, and the divine in human form.