Woman Bending Over
Date: 1978
Medium: Bronze and paint
Dimensions: 41 x 29 x 16 inches
Edition: 1
Related Information
Bronze Caster:
Chuck Manning, Missoula, MT
Exhibitions:
Iannetti-Lazone Gallery, San Francisco, CA, Paul Harris: Works in Bronze (traveling exhibition), April 13, 1989–March 10, 1990
Eric Firestone Gallery, Scottsdale, AZ, Sensibilities of Shape & Form: Douglass Denniston & Paul Harris, December 13, 2007–January 31, 2008
Et al. etc., San Francisco, CA, Paul Harris, Selections, October 1, 2026–October 29, 2026
Remarks:
“In Woman Bending Over (1978), Harris has crafted the bronze so that the eponymous woman bends at the waist at a steep angle, her buttocks thrust into the air. Her head and torso are in disproportion to her long legs, which end in oversized feet that help counter instability. The work is frankly, playfully sexual in subject but simultaneously exhibits a more subtle physicality in its fluid curves and soft lines.”
—Jessica Holmes, “Uncanny or Erotic: Paul Harris Bronzes,” 2026.
Chronology Excerpt:
“Paul Harris: Works in Bronze opens at the Iannetti-Lanzone Gallery on April 13, 1989 and is on view until May 20. The show travels to the Constantine Grimaldis Gallery in Baltimore where it is shown from September 6 to September 30, 1989, and to the Galerie Redmann in Berlin on view from February 14 to March 10, 1990. The survey includes examples in bronze made by Harris in the 1960s, 1970s, and 1980s, including: Anna in Love (1987), Anna Turning (1989), and Woman Bending Over (1978). In the accompanying exhibition catalogue, critic, and poet Bill Berkson writes that, ‘Gravity in Paul Harris’s sculptures is primary and emphatic in ways that nothing else about them is. How the object sits, lays, stands, or leans—the general position that orients you it as a three-dimensional image in the space of a room—makes the first impression. Once oriented, you notice a conundrum: the weighty, tactile presence thus deposited has a resonance and scale not there to be grasped at all, an elusiveness suspended among the familiar shapes borne to view.’”
