Hamo Thornycroft

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Sir (William) Hamo Thornycroft RA (March 9, 1850–December 18, 1925) was a British sculptor, responsible for several London landmarks.

Hamo Thornycroft belonged to a family of sculptors. His father, Thomas and mother Mary and grandfather John Francis were all distinguished sculptors. He was born in London. His brother, John Isaac Thornycroft, became a successful naval engineer, and their sister, Theresa, was the mother of the poet Siegfried Sassoon. Hamo's early training was with his parents and he developed a passionate and precocious attachment to Classical sculpture. He subsequently studied at the Royal Academy of Arts, where his primary influence was the painter-sculptor Frederic Leighton. Hamo's won the Gold Medal of the Royal Academy 1876, with the statue Warrior Bearing a Wounded Youth. He was the leading figure in the movement known as the New Sculpture. His close personal friend, the critic Edmund Gosse, coined the term "The New Sculpture" in 1894 and formulated its early principles from his relationship with Thornycroft. Thornycroft created a series of statues in the ideal genre in the late 1870s and early 1880s that sought to reanimate the format of the classical statue. These included Lot's Wife (1878), Artemis and her Hound (1880 plaster, 1882 marble), the Homeric bowman Teucer (1881 plaster, 1882 bronze), and the Mower (1884 plaster, 1894 bronze), arguably the first life-size freestanding statue of a contemporary laborer in nineteenth-century sculpture. Thornycroft was one of the youngest artists to be elected to the Royal Academy, in 1882, the same year the bronze cast of Teucer was purchased for the British nation under the auspices of the Chantrey Bequest. After 1884, Thornycroft's reputation was secure and he received commissions for a number of major monuments, most notably the innovative General Gordon. Thornycroft continued to be a central member of the sculptural establishment and the Royal Academy into the twentieth century. He was knighted in 1917. He increasingly became reactionary and resistant to the new developments in sculpture, even though it was his work of the early 1880s that helped catalyze sculpture in the United Kingdom toward developing new directions. In sum, he provided an important transition between the neoclassical and academic styles of the nineteenth century and its fin-de-siècle and modernist departures.