• Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
  • Untitled (Screen Form) - Robert Adams, Bowman Sculpture Ltd
Click image to enlarge

Untitled (Screen Form)

Robert Adams

(British, 1917-1984)

Signed and dated on base 'Adams 1962'
Bronzed steel
Height: 36 3/4" (93 cm)

Conceived and cast in 1962
Unique


Robert Adams (1917-1984) was one of the leading lights of the British avant-garde in the post war period. He name is synonymous with the group of artists (also including Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull) who made up the so called ‘Geometry of Fear’ movement, who exhibited in the ‘New Aspects of British Sculpture’ in the British pavilion at the Venice Biennale,1952.

Adams started his career as a carver of stone and wood, in the tradition of Henry Moore and Barbara Hepworth. His interests however soon developed, becoming increasingly abstract. Adams held his first one man show at the Gimpel Fils Gallery in London, in 1947; during this period, he was also a teacher at the Slade School of Art, where he met like minded artists working in constructed abstract art – including Victor Pasmore, and Kenneth and Mary Martin. The next year, in 1948 this transformation to abstraction was further developed when Adams visited Paris, and was exposed to the sculpture of Pablo Picasso, Julio Gonzales, Constantine Brancusi, and Henry Laurens.

In the 1950’s Adams’ reputation was propelled with exhibitions at the International Arts Program in New York (where he met artists Alexander Calder and Robert Motherwell); a second solo show at Gimpels in London; a major commission for the Festival of Britain in 1951, and significantly at the 1952 Venice Biennale. In fitting with the materials and language that the ‘Geometry of Fear’ group worked in, Adams’ approach to sculpture changed from carving, to working in bronze and welded iron, and also cast concrete – essentially modern materials.

A decade later, Adams was honoured again in Venice, this time with a joint exhibition with Hubert Dalwood at the British Pavilion, showing a series of welded ‘screens’. It is these flat panelled sculptures that form the artist’s lasting legacy.

Adams also completed several important commissions, the most famous being a huge relief at the Gelsenkirchen in Germany. His sculpture is held in important public collections worldwide, including Tate, London, and MOMA, New York, and the Smithsonian Institute, Washington.

The present work, which was sold by Gimpel Weitzenhoffer Gallery in 1975, is an archetypal example of Adam’s welded screens. These forms relate to a number of works made from 1955 onwards, embodying sheets of welded metal. Versions of these were shown at the artists 1962 retrospective at the Venice Biennale , and a month later, at his Gil Fils exhibition in London.

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