Introduction | Biography |
Exhibitions / Purchases |
Biographical
Timeline |
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1928 |
Peter King born in London. His mother was a school teacher and his father employed in a variety of trades such as window-dressing, involving both manual and artistic skills. King inherited this interest in making things, and his artistic potential was soon acknowledged. |
1942
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He experimented with plaster and other materials at an early age, and by around the age of fifteen, was already making highly proficient wood carvings, such as his Seated Figure with Faun circa 1943 (right). |
1948-50 |
Attended Wimbledon School of Art. In a surviving notebook, King describes some of his works completed at Wimbledon as ‘academic studies’; however, he established a considerable technical fluency. He also became competent as a photographer, and many of the glass plates he used to record his own work have survived, together with many of his photographic prints. |
1949-50 |
King began to work with the monumental stonemasons, Gerald Giudici in London. He also began to work as an assistant to the sculptor Sir Charles Wheeler. |
1949
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King spent almost two years in the Air Force. He was in Germany for the Berlin Airlift operations, and wrote a satirical account of his military experiences in his notebooks. |
1951-52 |
There were many talented artists living in the commune, and King became a close friend of the Scottish painter Alan Davie, and met the Indian painter F.N.Souza and the ceramicists Lucie Rie and Hans Coper.
King built his own home-made foundry at the Centre, and cast many works, mainly using the lost wax technique, which he had been shown by Alan Davie. King also cast two bronzes for Anthony Caro. The photographer, Ida Kar, at that time married to Victor Musgrave, took a series of photographs of King, including some of him with the foundry (these are now in the Ida Kar Archive in the National Portrait Gallery, London). |
1952 |
King exhibited two sculptures in the Abbey Art Centre Artists’ exhibition at the Berkeley Galleries. Among the commissions King helped to carve in 1951-52,
was the allegorical stone figurative work, Earth and Water by Sir Charles
Wheeler for Horseguards Avenue, London. In 1952, King worked for Guidici
on the restoration of the stone carvings on the House of Commons. The
quality of his work for Guidici and Wheeler led to King being recommended
to Henry Moore, who took him on as assistant in 1952. |
1953 |
In May 1953, King married Katharine Weiss, and their son Michael was born later that year. |
1954
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1955 |
Four of King’s works included in New Sculptors, Painter-Sculptors at the ICA, London. He broke his leg in a motor-cycle accident late in
1955 and subsequently had on-going health problems. This led to King leaving
Henry Moore’s team of assistants. |
1956 |
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1957 |
In January, King showed selected works at Gallery One in London. He also had solo exhibitions in Paris at the Galerie Rive Gauche and at the Galerie Edouard Loeb, and in Rome at the Schneider Gallery. His wooden sculpture, Animal and Rider, was exhibited in Contemporary British Sculpture, the Open Air Exhibition arranged by the Arts Council of Great Britain. His ciment fondu Standing Figure was exhibited in Holland Park in the London County Council Exhibition, Sculpture 1850 and 1950.
By early 1957, King’s personal life became increasingly chaotic and his mental and physical health were affected; he had even made an attempt on his life the year before and had been briefly sectioned in a north London hospital: he described suburbia as the ‘citadel of schizophrenia’. Although he was in a deeply disturbed frame of mind, King continued to work prolifically and constantly experimented with new techniques. He had never really recovered from his injuries from the motor-cycle accident two years before, and at the beginning of October 1957, his health deteriorated further and he died at the end of the month. Victor Musgrave wrote King’s obituary in The Times, noting that ‘all his best work, much of which was done under unusual difficulties, reflected the warmth of his nature; it expressed the rich variety of an inquiring mind, imbued at times with great dignity, or tinged occasionally with a delightful sense of humour. He was one of those rare people of whom it can truly be said that to know him was to love him.’ |
Selected Bibliography |
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Berthoud, Roger, The Life of Henry Moore, London: Giles de la Mare Publishers, 2003, p. 303. Wedd, Kit, et al, Creative Quarters – The Art World in London from 1700 to 2000, (Museum of London) London: Merrell, 2001, p. 135. Mitchinson, David, et al, Hoglands – The Home of Henry and Irina Moore, Aldershot: Lund Humphries, 2007, pp. 73, 77, 90. Curtis, Penelope, et al, Sculpture in 20th-century Britain Vol 2, Leeds: Henry Moore Institute, 2003, essay by Martin Harrison, pp. 191-193. Barker, Ian, Anthony Caro – Quest for the New Sculpture, Kunzelsau: Swiridoff Verlag, 2004, p. 59. |
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