Portal de Periódicos da CAPES

King and Queen of Glenkiln

1998; Elsevier BV; Volume: 352; Issue: 9136 Linguagem: Inglês

10.1016/s0140-6736(05)70534-1

1474-547X

Graham Watt,

Healthcare Systems and Challenges

Catherine Wood (July 25, p 329)1Wood C Alien intruders in a familiar scene.Lancet. 1998; 352: 329Summary Full Text Full Text PDF Google Scholar describes the inspirational setting of Henry Moore's King and Queen in the Egyptian sculpture gallery of the British Museum. The sculptor's favoured setting for this statue was on a hillside at Glenkiln, a few miles west of Dumfries in Scotland, which is why the statue is larger than life size. In an outdoor setting, “the statues must possess the surroundings and the surroundings the statues”.Ludovic Kennedy2Kennedy L In bed with an elephant: a journey through Scotland's past and present. Bartram Press, London1995Google Scholar wrote. “But of all Moore's statues that decorate Glenkiln, the one that most art critics and he himself considered his finest work is the striking King and Queen, seated together on a bench overlooking the reservoir looking in the direction of England. Moore said that the idea for this came to him in 1953 which was not only Coronation year but a time when he was reading bedtime stories about kings and queens to his daughter Mary, then six. He began the work as a 10 inch wax maquette instead of a drawing so that it should be three dimensional from the start, and as he rolled the wax in his finger, he found a sort of crown taking shape on the head of the King. This led him to give the King a consort, and although hardly representational, there can be no doubting the masculinity of the one and femininity of the other. His back is convex, hers concave: he modelled the hands of the King on those of the Director of the National Gallery and those of the Queen on the hands of his secretary. Between the two solids one can see the “leaf shaped space” of which Moore was so fond. To me the statue says everything that is true about ancient kingship: majestry, authority, and in that desolate landscape the loneliness and isolation of office: but at ease too, as the King's right hand resting loosely on the side of his bench clearly shows, the prerogative of aristocrats through the ages.Quoted text extracted from Ludovic Kennedy, In bed with an elephant published by Bartram Press, a division of Transworld Publishers Ltd, with permission of the publishers, all rights reserved. Catherine Wood (July 25, p 329)1Wood C Alien intruders in a familiar scene.Lancet. 1998; 352: 329Summary Full Text Full Text PDF Google Scholar describes the inspirational setting of Henry Moore's King and Queen in the Egyptian sculpture gallery of the British Museum. The sculptor's favoured setting for this statue was on a hillside at Glenkiln, a few miles west of Dumfries in Scotland, which is why the statue is larger than life size. In an outdoor setting, “the statues must possess the surroundings and the surroundings the statues”. Ludovic Kennedy2Kennedy L In bed with an elephant: a journey through Scotland's past and present. Bartram Press, London1995Google Scholar wrote. “But of all Moore's statues that decorate Glenkiln, the one that most art critics and he himself considered his finest work is the striking King and Queen, seated together on a bench overlooking the reservoir looking in the direction of England. Moore said that the idea for this came to him in 1953 which was not only Coronation year but a time when he was reading bedtime stories about kings and queens to his daughter Mary, then six. He began the work as a 10 inch wax maquette instead of a drawing so that it should be three dimensional from the start, and as he rolled the wax in his finger, he found a sort of crown taking shape on the head of the King. This led him to give the King a consort, and although hardly representational, there can be no doubting the masculinity of the one and femininity of the other. His back is convex, hers concave: he modelled the hands of the King on those of the Director of the National Gallery and those of the Queen on the hands of his secretary. Between the two solids one can see the “leaf shaped space” of which Moore was so fond. To me the statue says everything that is true about ancient kingship: majestry, authority, and in that desolate landscape the loneliness and isolation of office: but at ease too, as the King's right hand resting loosely on the side of his bench clearly shows, the prerogative of aristocrats through the ages. Quoted text extracted from Ludovic Kennedy, In bed with an elephant published by Bartram Press, a division of Transworld Publishers Ltd, with permission of the publishers, all rights reserved.