Nineteen Twenty Five
During 1925, Parr secured some small, but worthwhile sculptural employment through the good offices of the architect Charles Wheeler.23 Wheeler engaged him to construct a number of small sculptures for the then uncompleted Bank of England’s building. Consequently, Parr had little time for making figurest. As noted previously, Charles and Nell Vyse were hard at work at Cheyne Row completing figure commissions, making high-fired stoneware, and continuing their research into Chinese type glazes. The Vyses were beginning to make their mark in this area of studio pottery. Nell in particular was fast becoming well-known for her expertise in glaze technology. It is therefore remarkable that Vyse found the time to model some new …show more content…
An imagined Elysium, the abode of pubescent boys and girls, adolescent fauns and nymphs are Vyse’s inspiration for the figure group, Morning Ride (Fig. 62). The subject possibly regarded today as kitsch. Ignoring such an appellation, if one studies the composition from a sculptural point of view one may arrive at a different conclusion regarding its artistic significance. Morning Ride is another composition Vyse modelled for viewing in the round. The figure’s height is 8¼ inches (22cms), a size that permitted Vyse a greater scope to model an anatomically correct depiction of his subject. The subject, a boy-faun sits astride the shell of a large snail seen making its way across a cabbage leaf, most possibly its breakfast. Vyse demonstrates his skill in the modelling of muscular and underlying skeletal structure of the human figure. The arms are particularly well delineated showing the underlining tension in the limbs as the faun tries to remain seated on the snail’s shell. Vyse shows the viewer, not only the boy-faun’s physical attributes, but also his strength of will. According to Vyse, the faun’s curly coated haunches and cloven hooves were modelled from the goats populating London Zoo. The beautifully observed snail is both naturalistic and realistically modelled and decorated. Giving the design an air of authenticity, is restricted palette of the faun’s dappled body, curly coated legs, and the snail’s shell, set against the bright green cabbage
During 1925, Parr secured some small, but worthwhile sculptural employment through the good offices of the architect Charles Wheeler.23 Wheeler engaged him to construct a number of small sculptures for the then uncompleted Bank of England’s building. Consequently, Parr had little time for making figurest. As noted previously, Charles and Nell Vyse were hard at work at Cheyne Row completing figure commissions, making high-fired stoneware, and continuing their research into Chinese type glazes. The Vyses were beginning to make their mark in this area of studio pottery. Nell in particular was fast becoming well-known for her expertise in glaze technology. It is therefore remarkable that Vyse found the time to model some new …show more content…
An imagined Elysium, the abode of pubescent boys and girls, adolescent fauns and nymphs are Vyse’s inspiration for the figure group, Morning Ride (Fig. 62). The subject possibly regarded today as kitsch. Ignoring such an appellation, if one studies the composition from a sculptural point of view one may arrive at a different conclusion regarding its artistic significance. Morning Ride is another composition Vyse modelled for viewing in the round. The figure’s height is 8¼ inches (22cms), a size that permitted Vyse a greater scope to model an anatomically correct depiction of his subject. The subject, a boy-faun sits astride the shell of a large snail seen making its way across a cabbage leaf, most possibly its breakfast. Vyse demonstrates his skill in the modelling of muscular and underlying skeletal structure of the human figure. The arms are particularly well delineated showing the underlining tension in the limbs as the faun tries to remain seated on the snail’s shell. Vyse shows the viewer, not only the boy-faun’s physical attributes, but also his strength of will. According to Vyse, the faun’s curly coated haunches and cloven hooves were modelled from the goats populating London Zoo. The beautifully observed snail is both naturalistic and realistically modelled and decorated. Giving the design an air of authenticity, is restricted palette of the faun’s dappled body, curly coated legs, and the snail’s shell, set against the bright green cabbage