Geoffrey Grigson on Clare

Grigson, Geoffrey

doi:10.4324/9780203199435-141

Cited by 2 publications

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“…Grigson, for example, emphasised the formal relationship between the organicity of Modernist sculpture and the bulbous appearance of single-celled organisms, observing that the visual knowledge of the sculptor had been enriched by the visions of biology: 'When I look at [Henry Moore's] carvings, I sometimes have to reflect that so much of our visual experience of the anatomical detail and microscopical forms of life comes to us, not direct, but through the biologist'. 40 Likewise, in a 1930 analysis of contemporary sculpture, the filmmaker John Grierson spoke of the pervasiveness of biological imagery in the Modernist psyche:…”

Section: Introductionmentioning

confidence: 99%

A Bridge between Science and Art? The Artistic Reception ofOn Growth and Formin Interwar Britain, c. 1930–42

Juler

2013

Interdisciplinary Science Reviews

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Taking Herbert Read's 1942 review of the second edition of On Growth and Form as its starting point, this article explores the artistic response to the work of D'Arcy Wentworth Thompson during the 1930s and early 1940s through the frame of the culture of popular science and the powerful current of interest that artists directed towards science at the time. The role of Thomson's work as a bridge between natural science and art, occupying the middle ground between poetry, philosophy and science, is described. Its creative use-value to Modernist artists as a pioneering work of morphology is discussed.

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Section: Introductionmentioning

confidence: 99%