The Sculpture ‘Marmite’ Question:
What do you love?
What do you hate?
Loyd Grossman replies:
‘For me, Jagger and Pearson’s Royal Artillery Monument is the supreme work of Great War commemoration, perhaps indeed the greatest war memorial of all time. Its combination of colossal scale and intimacy magnificently situates individual human sacrifice and suffering within the context of global slaughter. And with its references to both medieval knights and the crucifixion, it transcends the 1914-1918 war to become a timeless universal memorial to the dead of all wars.
Introducing movement into monumental sculpture is a perilous challenge. Even as great an artist as Epstein failed: his striding Jan Smuts in Parliament Square transforms the South African statesman into a Chaplinesque figure. Glynn Williams’ Lloyd George is even less successful as the Welsh wizard’s swirling cape takes on a life of its own, more dynamic than that of its wearer. For a lesson in sculptural subtlety look to Goscombe John’s equestrian Edward VII on the pierhead at Liverpool. The motion of the feathers on the King’s headdress is barely detectable, but eloquent.’