Comment on England  

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The essay was collected in '' [[The Arts Today]]'' (1935), a book edited by [[Geoffrey Grigson]]. The essay was collected in '' [[The Arts Today]]'' (1935), a book edited by [[Geoffrey Grigson]].
 +
 +s with their enlarged knowledge of the widened country of self.
 +Certain artists have realised this in their practice ; abroad Picasso, Brancusi, Klee,
 +Miré , Hélion ; in England Wyndha m Lewis and Henr y Moore. Abstractions are of tw o
 +kinds, geometric, the abstractions which lead to the inevitable death ; and biomorphic.
 +
 +
 +
:"Product of the multiform inventive artist, abstraction-surrealism nearly in control; of a constructor of images between the conscious and the unconscious and between what we perceive and what we project emotionally into the objects of our world; of the one English sculptor of large, imaginative power, of which he is almost master; the [[biomorphist]] producing viable work, with all the technique he requires." :"Product of the multiform inventive artist, abstraction-surrealism nearly in control; of a constructor of images between the conscious and the unconscious and between what we perceive and what we project emotionally into the objects of our world; of the one English sculptor of large, imaginative power, of which he is almost master; the [[biomorphist]] producing viable work, with all the technique he requires."
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"Comment on England (1935) is an essay by Geoffrey Grigson first published in the first issue of Axis[1]. The essay features an early use of the term biomorphism.

The essay was collected in The Arts Today (1935), a book edited by Geoffrey Grigson.

s with their enlarged knowledge of the widened country of self. Certain artists have realised this in their practice ; abroad Picasso, Brancusi, Klee, Miré , Hélion ; in England Wyndha m Lewis and Henr y Moore. Abstractions are of tw o kinds, geometric, the abstractions which lead to the inevitable death ; and biomorphic.



"Product of the multiform inventive artist, abstraction-surrealism nearly in control; of a constructor of images between the conscious and the unconscious and between what we perceive and what we project emotionally into the objects of our world; of the one English sculptor of large, imaginative power, of which he is almost master; the biomorphist producing viable work, with all the technique he requires."




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