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Hepworth in Colour - The Courtauld Gallery, London
12 Jun – 6 Sep 2026
Barbara Hepworth (1903 –1975) is best known for her abstract sculptural forms inspired by nature and the rugged seaside landscapes of Cornwall, where she lived and worked.
This ambitious exhibition is the first to explore a less familiar aspect of her work, the artist’s lifelong fascination with colour, which she used in highly original and unexpected ways. The exhibition unites for the first time her early innovative sculptures with colour of the 1940s, displayed alongside the most important drawings from that decade, and includes major examples of her work with colour from the 1950s and 1960s.
Discussing her pioneering use of colour in sculpture with her son-in-law, the art historian Alan Bowness, Hepworth stated ‘In a way my colour has been accepted, but never understood’.
This focused, research-driven exhibition is comprised of around 20 sculptures and 30 exceptional drawings, showing sculpture in dialogue with her painted and graphic works.
At the heart of the exhibition is an extraordinary group of wood and stone carvings created in the 1940s, with vivid blues and yellows painted into hollows and onto curves. Many of these have never previously been shown together and include key works from public and private collections, including as far afield as Australia and Hong Kong.
Hepworth’s interest in colour continued across her career into the 1950s and 1960s, with her painterly bronze surfaces and surprising use of coloured marbles that expand the role of colour in sculpture and reflecting a more expressive painting and drawing practice.
The Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colour provides an exciting and unique opportunity to discover the vital and expressive role of colour in Hepworth’s sculpture, offering a fresh way of understanding one of the most remarkable artists of the 20th century.
courtauld.ac.uk/whats-on/exh-hepworth-in-colour/
www.courtauldian.com/single-post/colour-inhabiting-sculpt...
Barbara Hepworth’s elegant works, with their harp-like strings and splashes of blue, evoke the foamy breakers of St Ives. But should we really be surprised she used colour?
They say in St Ives that if you put your ear to a Barbara Hepworth sculpture, you can hear the waves breaking on Porthmeor beach. Well, maybe they do say that and maybe they don’t. But the sea definitely roars in the ravishing sculptures at the heart of this small survey of just one aspect of her work: her use of colour.
Hepworth’s favourite colours turn out to be – wait for it – blue and white, the colours of the sea: the white foamy breakers and the rippling waters that swaddle the Cornish fishing town where her home and studio are proudly preserved.
And they haunt Hepworth’s rounded, pierced, convex and concave tabletop sculptures. In the first and most beautiful room, a series of objects the size and shape of geodes are displayed on pedestals. The rounded, white plaster objects are cut open to reveal deep blue interiors that seem immemorial, although Hepworth has simply painted them. Across the blue illusionistic depths, red-painted strings are tautly fixed. The red strings might suggest seaweed if, like me, you can’t get nature out of your head looking at these abstract yet evocative works.
Is it OK to see Hepworth as an artist of salty seascapes? The Courtauld frames her in a more formalistic, high modernist way as a pure abstract creator. Around her vivid sculptures, in which so many wild windswept walks by the sea seem compressed, the gallery walls are hung with her precise designs. They feature carefully calculated curves and radiating, intersecting lines that map out a lucid, geometrical beauty.
It’s interesting to see these drawings, at least at first. But the obligation to keep looking from Hepworth’s captivating, self-contained sculptures to her studies starts to feel like a chore. The argument of the exhibition is a bit empty, anyway: this famous British artist used colour. Is that a surprise? It seems reductive that a couple of pieces – a curvaceous, holey stone with a splash of yellow paint and a tall, graceful monolith that resembles jade – seem to be here simply to show Hepworth didn’t think in monochrome. They surely deserve better than to be chucked in as evidence that she enjoyed her colours.
But Hepworth is such a great sculptor, perfect and immaculate. Her 1946 elmwood carving Pelagos curls over like an especially elegant wave, the kind that surfers wait for off St Ives. Hepworth must have watched waves for hours, for years, to be able to visualise this graceful, smooth curve of gathered force, which she has painted white on its underside. Red strings, again, are suspended between the double curve, creating an almost cinematic sense of movement. They add to the sense that Hepworth doesn’t only work with colour but sound, too.
The strings make her sculptures resemble the Aeolian harp, an instrument that can be played by the wind. Samuel Taylor Coleridge had one and wrote: “How by the desultory breeze caressed … the long sequacious notes / Over delicious surges sink and rise.” In this windowless room in central London, Hepworth’s stringed sculptures may not sing in the wind but they resonate in your mind.
Hepworth’s passion for the forms created by the wind and waves fills this exhibition with blues and blue-greens. Her oil and pencil sketch Turning Form (Atlantic) is a rolling white misty spray in a spattered blue ocean, while Sea Form (Porthmeor) suggests those same wild waters in a wide horizon of green bronze. Most mysterious and lingering of all is Sculpture With Colour (Eos). This upright oval was carved from Hopton Wood stone in 1946. Hepworth dug a hole into it and painted it blue. The resulting oceanic oval recess in the miniature monolith resembles a huge staring eye: is it the eye of Eos, the Greek goddess of dawn?
I never thought of Hepworth as a mystic. But the calm and stillness her art creates feels spiritual. When you gaze at the upper and lower curves of her work Wave, time stops, as for a surfer on the water.
Hepworth’s art does not depict nature. Instead, it makes you feel the solitude, peace and the immensely long, dwarfing time cycles of nature: the time it takes for the sea to make a cave in a cliff, or for rain to sculpt a peninsula. The sculptor’s chisel has often been imagined as a penetrating, aggressive tool, shaping stone into convex, upright figures. Hepworth releases concavities, liberates holes. Maybe exhibitions of her art are often careful and fussy, as this one is, because they are a little intimidated by the sheer power of British art’s nature goddess.
Jonathan Jones - The Guardian
www.theguardian.com/artanddesign/2026/jun/11/barbara-hepw...
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"The Courtauld Gallery is one of London’s most respected small art museums. Located at Somerset House in central London, the gallery is part of the renowned Courtauld Institute of Art, which is one of the world’s leading centers for the study of art history, conservation, and curatorship.
After a major three-year renovation, the Courtauld Gallery reopened as a beautifully reimagined space that is nothing short of spectacular.
The redesign enhances both the flow of the galleries and the display of the collection, making it easier, and even more rewarding, for visitors to experience some of Western Europe’s finest Impressionist and medieval artworks in an intimate setting.
Like the vast majority of visitors, I headed first to the top floor to view the Impressionist collection and the special exhibition of paintings by Edvard Munch (see my review of this exhibition).
The Impressionist paintings at the Courtauld attract the most visitors and the room housing them can get a bit crowded.
I walked into the large room containing a delicious collection of Impressionists and immediately had to sit down to prevent myself from falling down and embarrassing myself. What I really wanted to do is laugh out loud and twirl myself past masterpiece after masterpiece, giddy with the beauty surrounding me.
When, finally, I collected myself, I began pacing slowly and reverently past gorgeous painting after gorgeous painting by all the biggies—Monet, Cézanne, Gauguin, Renoir, and many others..........;"
www.artsy-traveler.com/courtauld-gallery-london/#h-what-i...
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