Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)
Forms (Brown, Grey and White)

Forms (Brown, Grey and White)

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 During World War II, Barbara Hepworth could only draw at night and make a few plaster maquettes as the day was filled with running a nursery school, double cropping a tiny garden for food, and trying to feed and protect the children. Drawings like Forms (Brown, Grey and White), 1941, allowed her to continue thinking about forms in space when she was unable to make physical objects. The crystalline structures relate to stringed sculptures that Hepworth had started making in 1939 and reflected her interest in science.

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