{"title":"Stevens, Alfred George (1817–1875)","description":"\u003cp\u003eAlfred George Stevens (1817–1875) was born in Blandford Forum, Dorset, the son of a decorator and joiner, which shaped his early interest in art and craftsmanship. In 1833, the rector of his parish enabled him to go to Italy, where he spent nine years studying Renaissance art and copying frescoes, including studying for a time at the Accademia di Belle Arti in Florence. In 1841, the Danish-Icelandic sculptor Bertel Thorvaldsen employed him for a year in Rome. These years resulted in an enduring interest in the Italian High Renaissance, specifically Michelangelo, that is evidenced in much of his work.\u003c\/p\u003e\u003cp\u003eReturning to England, in 1845, Stevens obtained a tutorial position in the Government School of Design at Somerset House, London, where he remained until 1847. In 1850 he became chief artist to the Sheffield firm of H.E. Hoole and Co. who specialised in bronze and metal work. In 1852 he returned to London, where he designed the vases on the railings in front of the British Museum, and also the lions on the dwarf posts which were subsequently transferred to the inside of the museum.\u003c\/p\u003e\u003cp\u003eAlfred Stevens' most famous commission was the Wellington Monument in St Paul's Cathedral, begun in 1856. Although unfinished at the time of his death, it is considered his masterpiece and a landmark of Victorian sculpture. From 1860 he also worked on the decoration of Dorchester House, Park Lane for Sir George Holford.\u003c\/p\u003e\u003cp\u003eDespite his talent, Stevens struggled financially throughout his life. He was plagued by perfectionism and his obituary concluded that he 'left neither wife, nor children, nor riches, but the name of one of the greatest decorative artists insanely devoted to his art.' His legacy, however, was profound, as a 'godfather' of the New Sculpture movement and in his rejection of distinctions between fine art and design. His work can be found in numerous public collections, including the V\u0026amp;A, Tate, Dorset Museum \u0026amp; Art Gallery, Fitzwilliam Museum, Ashmolean Museum, Manchester Art Gallery, Walker Gallery, Birmingham Art Gallery, and National Galleries of Scotland, amongst others.\u003c\/p\u003e","products":[{"product_id":"alfred-george-stevens-design-for-a-decorative-frieze-original-mid-19th-century-chalk-drawing-kd-299","title":"Alfred George Stevens, Design for a Decorative Frieze – Mid-19th-century chalk \u0026 wash drawing","description":"\u003cp\u003eAn original mid-19th-century chalk drawing – Alfred George Stevens, Design for a Decorative Frieze.\u003c\/p\u003e\u003cp\u003eA wonderful neoclassical design for part of a decorative frieze by the celebrated British sculptor Alfred George Stevens (1817–1875).\u003c\/p\u003e\u003cp\u003eAlfred Stevens is regarded as a foundational figure for the 'New Sculpture' movement in late 19th-century Britain, recognised as a master who bridged Renaissance principles with modern sculpture and design.\u003c\/p\u003e\u003cp\u003eAged sixteen he travelled to Italy, where he spent nine formative years, studying Renaissance painting and receiving some formal training at the Accademia di Belle Arti in Florence. In 1841–2 he worked in Rome as an assistant to the major neoclassical sculptor Bertel Thorvaldsen. Steven's own work was strongly influenced by Italian High Renaissance style; this neoclassical frieze design features a winged putto, classical pedestals, scrolls and laurel wreath, along with ribbon festoons.\u003c\/p\u003e\u003cp\u003eExecuted in black chalk with black wash, the design is inscribed 'Black Panel[?]', suggesting that it is possibly the design for a cast iron fire surround or chimney piece; highlights in white bodycolour mimic the sheen on black cast iron. In 1850 Stevens became chief designer to a Sheffield firm, Messrs. Hoole and Robson, who specialised in metalwork and won renown for metalwork exhibited at the Great Exhibition of 1851. He also did work for the Coalbrookdale Iron Company. The festoon ribbons in this design are similar to a cast iron fire surround designed by Stevens for Colebrookdale, now in Colebrookdale Museum of Iron. Stevens' most famous commissions include the chimneypiece for the dining room of Dorchester House in London, and the monument to the Duke of Wellington in St Paul's Cathedral. His work was highly influential to sculptors of the New Sculpture movement, Frederic Leighton, George Frederic Watts and Hamo Thornycroft.\u003c\/p\u003e\u003cp\u003eThis design is perhaps particularly interesting as evidence of the artist's working process, given the fragmented, composite nature of the piece. The paper appears to have been repeatedly recomposed and extended, consisting of at least four separate segments, which have been laid down on a backing—apparently by the artist himself. The backing sheet has a further sculptural head sketch on the verso, along with the artist's signature. As a result, it very much has a feel of a work in progress, a design most likely never realised, and a snapshot of the creative mind of a man whom Thornycroft described as one of ‘the greatest sculptors this country has ever seen’.\u003c\/p\u003e\u003cp\u003eIn black chalk with black and brown wash and white bodycolour, on multiple fragments of wove paper. Laid down on pale blue backing paper with further graphite sketch on verso.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":54050481078601,"sku":"KD-299","price":480.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-299.jpg?v=1773922653"}],"url":"https:\/\/somersetandwood.com\/es-eu\/collections\/stevens-alfred-george-1817-1875.oembed","provider":"Somerset \u0026 Wood Fine Art","version":"1.0","type":"link"}