Manual Ref* | NFnrNOR018 Show 5 images | 21 | ||||||||||||||||||||||
Title* |
Mother and Child |
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County | Norfolk | District Council | Norwich City Council | |||||||||||||||||||||
Civil Parish or equivalent | Norwich City Council | Town/Village* | Norwich - Cathedral Close | |||||||||||||||||||||
Road | Cathedral Close | |||||||||||||||||||||||
Precise Location | Upper close | |||||||||||||||||||||||
OS Grid Ref | TG235087 | Postcode | NR3 | |||||||||||||||||||||
Previous location(s) | ||||||||||||||||||||||||
Setting | Religious, in Cathedral Close | Access | Public | |||||||||||||||||||||
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Commissioned by |
Plaster first exhibited, Woodstock Gallery, London 1958, Bronze commissioned Norfolk Contemporary Art Society, 1974 | |||||||||||||||||||||||
Design & Constrn period |
Designed 1958, cast 1978 | |||||||||||||||||||||||
Date of installing |
1978 |
Exact date of unveiling |
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Category |
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Object Type |
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Subject Type |
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Work is |
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Owner/Custodian |
Norwich Cathedral | |||||||||||||||||||||||
Listing status |
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Surface Condition |
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Structural Condition |
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Vandalism |
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Overall condition |
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Risk |
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Description (physical) |
The group of Mother and Child had been left as a plaster model in the studio of the artist in the possession of his widow Irena. She made the this available to the Norfolk Contemporary Art Society for their first commission, cast by John Gallizia at a cost of £4,320. This was typical of Fullard's work, which, because of the cost, was only cast in plaster or cement during his lifetime, and in bronze after his death. | |||||||||||||||||||||||
Description (iconographical) |
The pose is inspired by myriad versions of the Christ Child with the Virgin Mary but the iconography is not specifically Christian. The mother is seated with exposed breasts - presumably to feed the large child she holds across her lap. Fullard had treated the theme of Mother and Child in an earlier full-length bronze of 1956, now in Sheffield. That fitted with his early preoccupation with the concept of 'realism' endorsed by the influential critic and writer John Berger. The later Norwich group with its heavily modelled surfaces and a Picasso-inspired treatment of forms is typical of Fullard's development away from his earlier naturalistic modelling and is an example of Herbert Read's description of British sculpture of the post war years as the 'geometry of fear'. Picasso offered Fullard further inspiration for assemblages from 1959 onwards and his inspired use of 'found' wood. | |||||||||||||||||||||||
Photographs |
Date taken:
29/4/2006
Date logged: |
Photographed by: |
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On Site Inspection |
Date: 2/4/2006 |
Inspected by: |
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Sources and References |
www.culturalmodes.norfolk.gov.uk/projects/02/04/06 Short, Robert, Norfolk Contemporary Art Society. Fifty years on…, Norwich 2006, 10-11 Whiteley Gillian (1998) Assembling the Absurd: the Sculpture of George Fullard- London: The Henry Moore Foundation in association with Lund Humphries Publishers, cat. 31, pp. 43-69; While, Darcy and Norman, Elizabeth, Public Sculpture of Sheffield and South Yorkshire, Liverpool, 2015, 177-178 | |||||||||||||||||||||||
Database |
Date entered: 26/6/2006 |
Data inputter: |