Meni

period

pokret

  1. Marble Form — Barbara Hepworth, 1964

vibe

  1. Curved Form (Pavan) — Barbara Hepworth, 1956
  2. Конструкција (Крестијанство) — Barbara Hepworth, 1966
  3. Marble Form — Barbara Hepworth, 1964
  4. Модел за Миленијумски сад — Barbara Hepworth, 1947
  5. Sculpture with Colour (Deep Blue and Red) — Barbara Hepworth, 1940
  6. Totem — Barbara Hepworth, 1960
  7. Mother and Child — Barbara Hepworth, 1934

teme

  1. Marble Form — Barbara Hepworth, 1964
  2. Curved Form (Pavan) — Barbara Hepworth, 1956
  3. Модел за Миленијумски сад — Barbara Hepworth, 1947
  4. Oval Sculpture — Barbara Hepworth, 1943
  5. Mother and Child — Barbara Hepworth, 1934

ključne reči

ton

  1. Quadrilateral and the circle — Казимир Малевић, 1915
  2. Три полусфера — Barbara Hepworth, 1967
  3. Marble Form — Barbara Hepworth, 1964
  4. Two Forms — Barbara Hepworth, 1937
  5. Oval Sculpture — Barbara Hepworth, 1943
  6. Barbara Hepworth with the plaster of Figure for Landscape and a bronze cast of Figure (Archaean), November 1964. — Barbara Hepworth, 1964

primarna boja

  1. Pink smash — Адолф Готелиб
  2. Mother and Child — Barbara Hepworth, 1934
  3. Composition (Marchand de Couleurs) — Мен Реј, 1929
  4. Barbara Hepworth with the plaster of Figure for Landscape and a bronze cast of Figure (Archaean), November 1964. — Barbara Hepworth, 1964
  5. Amorpha. Fugue in Two Colors 4 — Франтишек Купка
  6. Curved Form (Pavan) — Barbara Hepworth, 1956
  7. Exodus #11, The Lord Overthrew the Egyptians in the Midst of the Sea — Peter Lipman-Wulf, 1960
  8. Actium — Viktor Vasereli
  9. Модел за Миленијумски сад — Barbara Hepworth, 1947
  10. Single Form (Antiphon) — Barbara Hepworth, 1969
  11. Tache Bleu — Александер Милн Калдер
  12. Two Forms — Barbara Hepworth, 1937

ostalo

  1. Neo Minimalism — Алфред Фреди Крупа, 2013
  2. Barbara Hepworth at work on the plaster for Oval Form (Trezion) (Photo: Val Wilmer) — Barbara Hepworth, 1963
  3. Ondho — Viktor Vasereli, 1960
  4. Untitled (964) — Hans Hartung
  5. Poema I — Жоан Миро, 1968