@lynnchadwickarchives

Lynn Chadwick

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Lynn Chadwick (1914–2003) British sculptor and leading figure of postwar modernism. Official account of The Estate of Lynn Chadwick.

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#lynnchadwick #britishsculpture #modernsculpture #postwarart #bronzesculpture #sculpture #arthistory #modernart #20thcenturyart #bronze

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Now on display in the Formal Garden, Little Girl is one of a series of seated figures made by Lynn Chadwick during the 1970s and 1980s. ⁠ ⁠ Previously on display near Barbara Hepworth's The Family of Man, the featureless head makes the figure seem isolated and distant, or perhaps in a state of peaceful contemplation. ⁠ ⁠ It joins a collection of sculptures in the Formal Garden which explore themes of mythology and the body, with each artist creating unsettling and ambiguous hybrid figures. ⁠ ⁠ Plan your visit at 🔗 in bio - Visit Us⁠ ⁠ Lynn Chadwick, Little Girl, 1987. Courtesy of YSP Collection 📷️ @photosbydavidlindsay⁠ ⁠ #YSP ⁠#ArtWithoutWalls @aceagrams @mywakefield @ysi_sculpture @experiencewakefield @lynnchadwickarchives⁠ 04 Nov 2026

Moon of Alabama, 1957 Lynn Chadwick was a war time aviator and fascinated by the quest for a moon landing. This started with the Russian Sputnik and then the American Apollo mission that was centred in Alabama. Moon of Alabama was also a popular song at the time by Kurt Weill and Bertolt Brecht from The Rise and Fall of the City of Mahagonny and these thoughts all coalesced in this sculpture. Chadwick’s moon has taken flat triangular surfaces to imitate a planetary sphere of man’s creation, with the spiky extensions adding to the Sputnik resonance. Bronze 63 x 47 x 47 in 160 x 120 x 120 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt #kurtweil #ApolloMission #BertoldBrecht #Sputnik 01 Nov 2026

Chadwick in the Landscape Ace of Diamonds III, 1986 - 1996 Welded stainless steel 90 1/2 x 264 x 17 1/2 in 230 x 670 x 45 cm #LynnChadwick #StainlessSteel #BritishSculpture #ModernSculpture #PostwarArt 25 Oct 2026

Maquette for Conjunction II, 1957 At this scale, the sculpture feels provisional and decisive at the same time. Two upright forms draw close, their bodies angled inward as if testing alignment rather than committing to it. What’s compelling here is the sense of adjustment. The maquette reads like a problem being solved in real time — how much closeness can be held before the structure collapses, how little contact is needed for the figures to register as a unit. Intimacy appears as calibration, not expression. Bronze 21 x 11 x 12 in 53 x 28 x 30 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt 18 Oct 2026

Chadwick in the Landscape Sitting Figures (2), 1979 - 1980 Bronze Male 183 x 94 x 138 cm Female 184 x 84 x 122 cm #LynnChadwick #Bronze #BritishSculpture #ModernSculpture #PostwarArt 11 Oct 2026

Split V, 1964 This sculpture rises as a single mass that refuses to stay whole. Sharp vertical planes pull apart just enough to expose internal edges, as if the form were under pressure from within. What gives Split V its tension is the absence of a visible figure. The work reads as a body reduced to structure — something folded, fractured, and held together by force rather than anatomy. The split is not violent, but deliberate: a controlled opening that turns solidity into something provisional, almost geological. Bronze 23 1/2 x 13 1/2 x 6 1/2 in 60 x 34 x 16 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt 04 Oct 2026

Chadwick in the Landscape Sitting Figures, 1989 Welded stainless steel 75 1/2 x 65 1/2 x 60 in 192 x 166 x 152 cm #LynnChadwick #Stainlesssteel #BritishSculpture #ModernSculpture #PostwarArt 27 Sep 2026

Encounter IV, 1956 Chadwick’s pairs don’t ‘pose’ — they negotiate. Two presences held in a charged geometry, leaning, bracing, tethering, resisting. The space between them is the real subject: a corridor of tension you can walk around. Built from sharp planes and compressed volumes, the figures read like modernist architecture turned sentient. They’re watchful, sealed, and strangely intimate — a relationship expressed through balance rather than faces. Bronze 25 1/2 x 18 x 9 in 65 x 46 x 23 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt #Couples #Figures 19 Sep 2026

Chadwick in the Landscape Stranger III, 1959 Bronze 86 x 103 x 34 1/2 in 219 x 261 x 87 cm #LynnChadwick #Bronze #BritishSculpture #ModernSculpture #PostwarArt 12 Sep 2026

Watcher VI, 1961 The figure stands rigid and self-contained; its upper mass sealed into a block that refuses expression. There is no face to meet the eye, only a dense, frontal surface that absorbs attention rather than returning it. What makes the sculpture alluring is its asymmetry of effort. The lower body narrows into long, attenuated legs that seem overworked, straining to support a top-heavy presence. Watching here is not an act of looking outward but a condition of being fixed in place — alert, immobile, and quietly imposing. Bronze 38 x 14 1/2 x 12 in 97 x 37 x 30 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt #Watchers 05 Sep 2026

Chadwick in the Landscape The Watchers, 1960 Bronze #LynnChadwick #Bronze #BritishSculpture #ModernSculpture #PostwarArt 30 Aug 2026

Tripod II, 1964 The figure stabilises itself through three points, its weight distributed downward rather than centred. The body feels compressed and deliberate, as if balance were something engineered rather than assumed. The tripod form carries multiple echoes. It recalls ancient ritual supports — stands, altars, instruments — but also modern devices: survey equipment, cameras, and measuring tools. In Chadwick’s hands, the tripod becomes a thinking structure, a way of holding presence steady while keeping it alert. The figure is neither passive nor mobile; it stands ready, calibrated, and quietly vigilant. Bronze 19 1/2 x 8 1/2 x 10 in 49 x 22 x 25 cm #LynnChadwick #BritishSculpture #ModernSculpture #BronzeSculpture #PostwarArt #Sculpture #ArtHistory #ModernArt #20thCenturyArt 21 Aug 2026

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DfUYWInjWC9	Now on display in the Formal Garden, Little Girl…
DfMk4NcDUeg	Moon of Alabama, 1957 Lynn Chadwick was a war t…
De7L1ZoDDs7	Chadwick in the Landscape Ace of Diamonds III,…

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shortcode	caption	likes	comments
DfUYWInjWC9	Now on display in the Formal Garden, Little Girl…
DfMk4NcDUeg	Moon of Alabama, 1957 Lynn Chadwick was a war t…
De7L1ZoDDs7	Chadwick in the Landscape Ace of Diamonds III,…

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