Alfred Gilbert

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This is an article about the sculptor; see also Alfred Carlton Gilbert for the inventor and toymaker.
The figure of Anteros from the Shaftesbury Memorial in Piccadilly Circus
The figure of Anteros from the Shaftesbury Memorial in Piccadilly Circus

Sir Alfred Gilbert (August 12, 1854 – November 4, 1934) was an English sculptor and goldsmith who enthusiastically experimented with metallurgical innovations. He was a central — if idiosyncratic — participant in the New Sculpture movement that invigorated sculpture in Britain at the end of the nineteenth century.

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[edit] Early life

Alfred Gilbert's parents, Charlotte Cole and Alfred Gilbert, were musicians who lived at 13 Berners Street, London, where Alfred was born. On 3 January 1876 he married his first cousin, Alice Jane Gilbert (1847-1916), with whom he had eloped to Paris. They had five children but finally separated in 1904. After Alice's death, he married Stéphanie Quagehebeur, the widow of a Bruges compositor, on 1 March 1918; she and six of her children had lived with him since 1907.

He received his education mainly in Paris (Ecole des Beaux-Arts, under Jules Cavelier), and studied in Rome and Florence where the significance of the Renaissance made a lasting impression upon him and his art. He also worked in the studio of Sir Joseph Boehm, R.A.

[edit] Work

Piccadilly Circus memorial fountain, depicting Anteros as "the Angel of Christian Charity", but popularly referred to as Eros, one of the first statues to be cast in aluminium.
Piccadilly Circus memorial fountain, depicting Anteros as "the Angel of Christian Charity", but popularly referred to as Eros, one of the first statues to be cast in aluminium.

His first work of importance was the charming group of the Mother and Child, then The Kiss of Victory, followed by Perseus Arming (1883), produced directly under the influence of the Florentine masterpieces he had studied. Its success was great, and Lord Leighton forthwith commissioned Icarus, which was exhibited at the Royal Academy in 1884, along with a remarkable Study of a Head, and was received with general applause. Then followed The Enchanted Chair, which, along with many other works deemed by the artist incomplete or unworthy of his powers, was ultimately broken by the sculptors own hand. The next year Gilbert was occupied with the Shaftesbury Memorial Fountain, in Piccadilly Circus, London, a work of great originality and beauty representing Anteros, yet shorn of some of the intended effect through restrictions put upon the artist.

In 1888 was produced the statue of H.M. Queen Victoria, set up at Winchester, in its main design and in the details of its ornamentation the most remarkable work of its kind produced in Great Britain, and perhaps, it may be added, in any other country in modern times. Other statues of great beauty, at once novel in treatment and fine in design, are those set up to Lord Reay in Bombay, and John Howard at Bedford (1898), the highly original pedestal of which did much to direct into a better channel what are apt to be the eccentricities of what is called the New Art School. The sculptor rose to the full height of his powers in his Memorial to the Duke of Clarence, and his fast developing fancy and imagination, which are the main characteristics of all his work, are seen in his Memorial Candelabrum to Lord Arthur Russell and Memorial Font to the son of the 4th Marquess of Bath.

Gilbert's sense of decoration was paramount in all he did, and although in addition to the work already cited he produced busts of extraordinary excellence of Cyril Flower, John R. Clayton (since broken up by the artist, the fate of much of his admirable work), G. F. Watts, Sir Henry Tate, Sir George Birdwood, Sir Richard Owen, Sir George Grove and various others, it is on his goldsmithery that the artist would rest his reputation; on his mayoral chain for Preston, the epergne for Queen Victoria, the figurines of Victory (a statuette designed for the orb in the hand of the Winchester statue), St Michael , and St George, as well as smaller objects such as seals, keys and the like. Gilbert was chosen associate of the Royal Academy in 1887, full member in 1892 (resigned 1909), and professor of sculpture (afterwards resigned) in 1900. In 1889 he won the Grand Prix at the Paris International Exhibition. He was created a member of the Victorian Order in 1897.

[edit] Bibliography

  • Beattie, Susan. The New Sculpture. New Haven: Yale University Press, 1983.
  • Dorment, Richard. Alfred Gilbert. New Haven: Yale University Press, 1985.
  • Dorment, Richard, et al. Alfred Gilbert: Sculptor and Goldsmith. London: Royal Academy of Arts, 1986.
  • Edwards, Jason. Alfred Gilbert's Aestheticism: Gilbert Amongst Whistler, Pater, Wilde, and Burne-Jones Aldershot: Ashgate, 2006.
  • Getsy, David. Body Doubles: Sculpture in Britain, 1877-1905. New Haven and London: Yale University Press, 2004.
  • Read, Benedict. Victorian Sculpture. New Haven: Yale University Press, 1982

[edit] Famous works

[edit] See also

This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.

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