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Francis Summers

(b Cheshire, 1946).

English sculptor and draughtsman. He studied painting at Hull and Manchester College of Art (1963–7), and then moved to London, where he studied at the Slade School of Art (1967–9). Davis’s early work, similar to some of the photorealist sculptors in America, such as Duane Hanson, involved casting figures and dressing them in clothes, for example Young Man (1969–71, London, Tate). He often made group scenarios that suggest of ritual, a suggestion enhanced by the formal clothes the figures wore and also by the masks or hats that Davies placed on them. In works such as Three Figures (1971; see 1985 exh. cat.) there is a dynamic of dominance and submission between the figures, with one kneeling on the floor, another standing on a chair in front of him. Davies subsequently moved away from the extreme realism of these works and began to make work that was more obviously sculpted, such as ...

Article

(Louis)

(b Denver, CO, Nov 24, 1941).

American sculptor. He studied at the University of Colorado, Boulder (1961–5), and was an art assistant at the University of New Mexico, Albuquerque (1966–8). He had his first one-man show at the OK Harris Gallery in New York in 1970. He rapidly developed a style of casting and then painting fibreglass or polyvinyl acetate sculptures of figures from live models. His techniques evolved to include refinements for achieving his hyper-realistic effects, including layering paint and glazes to depict a variety of skin surfaces and veins, creating individual characteristics such as moles and freckles, and implanting hair instead of adding wigs (see fig.). The extreme verism of his work links it to Photorealism, although it lacks the strong cultural identity evident in much Photorealist sculpture and painting. Many of the sculptures are of one or two young, elegant, and casually posed nude figures, as in ...

Article

José Corredor-Matheos

(b Tomelloso, La Mancha, Jan 6, 1936).

Spanish painter, draughtsman and sculptor. He lived in Madrid from 1949 and studied painting there from 1950 to 1955 at the Escuela de Bellas Artes de San Fernando. He came from a prosperous farming family and continued to reflect the cycles of nature in his work even after his move to the capital. His art evolved from primitivist and Surrealist influences to a strict realism that hinted at profound truths beyond surface appearances, for example in drawings such as Remainder from a Meal (1971; Baltimore, MD, Mus. A.) and in oil paintings such as Death Mask of César Vallejo (1962; Cleveland, OH, Mus. A.). He also occasionally produced sculptures, which he sometimes worked on over a long period, including life-size human figures in painted wood (e.g. Man and Woman, 1968–86; see 1986 exh. cat., pp. 10–11), editioned bronzes of heads and figures, and bronze reliefs cast from plaster originals (e.g. the ...