Elisabeth Frink Art for Sale: Prints & Originals

Biography

Born in 1930 in Suffolk, Elisabeth Frink’s upbringing in the countryside against a World War II backdrop provided inspiration that would later influence her work. Frink's education at the Guildford School of Art and subsequently at the Chelsea School of Art was integral in honing her style. Early in her career, she was drawn to themes of nature and animals, which evolved to include more human forms and expressions. Her early works, characterised by their rough and textural surfaces, showcased her approach to sculpture, focusing on the raw and emotive aspects of her subjects.

Frink's sculptures, such as the Goggle Head, reflect her fascination with the human condition and the physicality of emotion. Her ability to capture strength and vulnerability through her sculptures earned her widespread acclaim, and in the later years of her career, Frink continued to push the boundaries of her medium.

Frink was part of the Geometry of Fear group, a postwar British sculpting movement known for its visceral approach to the human condition. Frink's subject matter, predominantly male forms, birds, dogs, and horses, rarely included female representations, a choice that made her depictions of men, characterised by their vulnerability and aggression, all the more interesting.

One of Frink’s most defining early projects was her contribution to the Harlow New Town development, where her public sculptures played a key role in integrating art into post-war urban planning. This project set the stage for numerous public commissions that Frink would undertake throughout her career, cementing her role in bringing sculpture into the public.

Frink's collaboration with the Coventry Cathedral for their war memorial further highlighted her capacity to address pressing themes like conflict and remembrance through her art. Her influence extended beyond her sculptures, as she also made notable contributions in printmaking and illustration, bringing her application of form and expression to these mediums. Throughout her career, Frink received numerous accolades, including her election as a Dame of the British Empire, in recognition of her contributions to art and society.

In 1977, Frink’s contributions to British sculpture were formally recognised when she was elected to the Royal Academy of Arts. This prestigious accolade not only affirmed her status as one of the leading figures in contemporary art but also marked a milestone in her career, celebrating her achievements. As a member of the Royal Academy, Frink joined the ranks of the most respected and influential artists in the UK, highlighting her impact and standing in the art world.
Frink's status as a pioneering female sculptor is exemplified in her powerful and dynamic sculptures, such as Walking Madonna located in front of the Salisbury Cathedral. This sculpture, depicting a life-sized woman in motion, is a manifestation of Frink’s approach to form and her exploration of feminine strength and vulnerability. The Walking Madonna is particularly significant as it represents a departure from traditional static representations of women in sculpture, portraying a sense of purpose and forward movement. As one of the few prominent female sculptors of her time, Frink’s work in pieces like this broke new ground, challenging gender norms within the art world and paving the way for future generations of female artists.
Frink's versatility extended beyond sculpture into literature, where she collaborated with writers by providing illustrations for classic works. Her notable contributions include illustrations for Geoffrey Chaucer's Canterbury Tales and Homer's Odyssey. These illustrations showcased her ability to translate literary narratives into compelling visual forms, adding depth and dimension to these stories.