Artist: Frederick Hart
Title: The Muses: Poetry
Medium: Bronze sculpture
Size: 15 1/2" x 14 3/8" x 7 1/2"
Inscription: Signed and numbered
Edition: 65 Numbered
10 Artists Proofs (Roman Numerals)
A - D Collaborator's Proofs
Condition: Very good condition overall, please request condition report for full details
Documentation: Includes Gallery Certificate of Authenticity
Frederick Hart works with both bronze and lucite, and his choice of medium is always an important component in how his finished product looks and feels. The choice to create his “Muses” suite in bronze imbues the sculptures with a regal, substantial quality that helps ground the works. The choice of bronze also underscores the timeless quality of the “Muses” suite, staying true to Hart’s classical inspiration and unmatched eye for detail.
All of the 4 sculptures in the “Muses” suite exemplify the qualities that have made Frederick Hart one of the foremost contemporary sculptors. They are incredibly life-like, demonstrating his mastery of the human form and his amazing ability to capture movement. The folds of clothing and windswept hair feel true to nature, an especially impressive feat when rendered in weight bronze. The “Muses” suite also highlights many of the most important themes we see reappear throughout Hart’s body of work, including spirituality, identity, and the interplay of internal and external beauty.
Although very similar, the nuances of each of the 4 sculptures in the “Muses” series demonstrate Frederick Hart’s incredible range. “The Muses: Poetry” features a woman standing in a gentle breeze, seemingly lost in thought. The most pensive of the 4 sculptures in the “Muses” series, “Poetry” is an apt title for what is undoubtedly the most thoughtful and philosophical of the 4 sculptures.
Frederick Hart’s “The Muses: Poetry” is signed and numbered by the artist and comes with a gallery certificate of authenticity.
As one of America’s greatest representational artists, Frederick Hart left a lasting and unique mark in the world of modern sculpture. Born in Atlanta, Georgia in 1943, he studied at the University of South Carolina and after protesting alongside black students during the Civil rights movement, he moved to Washington D.C. to continue his studies at the Corcoran School of Art. Fascinated with the human figure and the classical approach, he started developing his career in 1966 as a stone carver apprentice at the National Cathedral in Washington D.C. Leaving the Cathedral in 1971, Hart started his own studio practice but had little success in the first years. In 1974, he was awarded the project by the Cathedral to create a contemporary interpretation of The Creation, an event that would change his life. Soon, Hart’s career took a turn for the better and in the upcoming decades, he rose to national prominence, becoming a government art advisor in 1985 and receiving the prestigious Henry Hering Award from the National Sculpture Society in 1987.
Best known for his architectural public sculpture work, Frederick Hart remained loyal to the figurative art, speaking very critically of abstract and similar art movements. He was the voice of moral responsibility among artists and the propagator of the classical aesthetic notions in art, representing the group of like-minded artists called “The Centerists”. "My work isn't art for art's sake, it's about life. I have no patience with obscure or unintelligible art - I want to be understood," he used to say, alluding to the higher aspirations and clear message his art delivered. Frederick Hart’s works are celebrated for their beauty and flawless execution, always in movement, layered with emotion, often depicting a form of religious trance or heightened state of awareness. With strong religious undertones, they can be seen as universal allegories, so rare, yet necessary in contemporary life and art.
Despite his traditional views on the artistic substance, Hart was a pioneer in the use of transparent acrylic resin in the creation of figurative sculptures. He patented a process of embedding one sculpture inside another, an innovative method that was not characteristic for religious (or other) sculpture until that time.
Hart died on August 13, 1999, in Baltimore, Maryland.