![[Woolf, Virginia. (1882 - 1941)] Froehlich Finke, Leonda. (1922–2017) "Virgina Woolf with Asphodelus" - Cast Bronze Relief, ca. 1980](http://www.schubertiademusic.com/cdn/shop/files/Finke_Leonda_Virgina_Woolf_Medal_21459a.png?v=1722190323)
[Woolf, Virginia. (1882 - 1941)] Froehlich Finke, Leonda. (1922–2017). "Virgina Woolf with Asphodelus" - Cast Bronze Relief, ca. 1980.
A moving and evocative bronze bas relief sculpture, ca. 1980, numbered 6 from the edition of 6. 11.5" x 8.5". Signed on Bottom. Very fine.
Leonda Finke’s sculpture has been primarily concerned with the human figure. “There I find constantly changing forms [and] a wealth of formal vocabulary [that] is a vehicle for expressing the basic emotions that shape our lives.” Finke’s work in bronze medals has won recognition from the prestigious Federation Internationale de la Medaille. She was invited to show her work at their Medal Exhibition in Helsinki, Finland in 1990 andi In 1992, she was both an invited lecturer at the British Museum and had her medal, “Virginia Woolf: A Room of One’s Own” featured on the cover of the British Art Medal society’s British Museum Exhibition Catalogue.
Woolf’s use of asphodel is largely conventional, relating almost exclusively to its locus classicus as the flower growing in the Elysian Fields. Asphodels first appear, rather ironically, in Woolf’s short story, “The Mark on the Wall” (1917) in a passage where the chaos of “life” is compared to “being blown through the Tube at fifty miles an hour. . . . Shot out at the foot of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office” (CSF 84). In To the Lighthouse (1927), when Mr. Banks calls Mrs. Ramsey on the telephone to confirm the time of his train, he visualizes her as a Greek beauty, “straight, blue-eyed” and then thinks how incongruous it is to be speaking to her on the phone: “The Graces assembling seemed to have joined hands in the meadow of asphodel to compose that face. He would catch the 10:30 at Euston” (TTL 32-3). There are further evocations of the flower in Orlando and The Years, among other places in Woolf's oeuvre.
[Woolf, Virginia. (1882 - 1941)] Froehlich Finke, Leonda. (1922–2017). "Virgina Woolf with Asphodelus" - Cast Bronze Relief, ca. 1980.
A moving and evocative bronze bas relief sculpture, ca. 1980, numbered 6 from the edition of 6. 11.5" x 8.5". Signed on Bottom. Very fine.
Leonda Finke’s sculpture has been primarily concerned with the human figure. “There I find constantly changing forms [and] a wealth of formal vocabulary [that] is a vehicle for expressing the basic emotions that shape our lives.” Finke’s work in bronze medals has won recognition from the prestigious Federation Internationale de la Medaille. She was invited to show her work at their Medal Exhibition in Helsinki, Finland in 1990 andi In 1992, she was both an invited lecturer at the British Museum and had her medal, “Virginia Woolf: A Room of One’s Own” featured on the cover of the British Art Medal society’s British Museum Exhibition Catalogue.
Woolf’s use of asphodel is largely conventional, relating almost exclusively to its locus classicus as the flower growing in the Elysian Fields. Asphodels first appear, rather ironically, in Woolf’s short story, “The Mark on the Wall” (1917) in a passage where the chaos of “life” is compared to “being blown through the Tube at fifty miles an hour. . . . Shot out at the foot of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office” (CSF 84). In To the Lighthouse (1927), when Mr. Banks calls Mrs. Ramsey on the telephone to confirm the time of his train, he visualizes her as a Greek beauty, “straight, blue-eyed” and then thinks how incongruous it is to be speaking to her on the phone: “The Graces assembling seemed to have joined hands in the meadow of asphodel to compose that face. He would catch the 10:30 at Euston” (TTL 32-3). There are further evocations of the flower in Orlando and The Years, among other places in Woolf's oeuvre.