Ben Uri Research Unit

Born: 1913 London, England

Died: 1998 London, England

Biography

Artist and teacher Laurence Josephs was born on 1 May 1913 in Stoke Newington, London, England, the son of Russian Jewish immigrants. From an early age, he displayed a natural talent for art, carving his first wooden sculpture at just nine years old. This early passion set the foundation for a distinguished career as a sculptor, painter, engraver, and teacher. Josephs began his formal art education in 1932 at St Martin’s School of Art, where he studied drawing under Vivian Pitchforth and the renowned sculptor, Leon Underwood. Underwood’s innovative methods and emphasis on breaking free from traditional artistic conventions profoundly shaped Josephs' artistic outlook. He subsequently joined Underwood's Brook Green School, becoming part of a dynamic avant-garde community that included prominent artists such as Henry Moore, Gertrude Hermes, and Eileen Agar, who affectionately called Josephs ‘the Benjamin of the Group’ due to his youth (artist’s website).

At Brook Green, Josephs contributed to The Island, a short-lived but significant publication that served as a manifesto for the group’s artistic ideals. The magazine reflected their collective opposition to the commercialisation of art and celebrated imagination as a vital force. This involvement placed Josephs within the broader context of British avant-garde art during the interwar years. By the late 1930s, Josephs was supporting himself through sales of his sculptures to private collectors, including Sydney Burney. His Kentish Town studio drew visitors who often left money in exchange for his drawings and engravings. These modest successes enabled him to travel, including extended stays in Paris, where he studied at the École des Beaux-Arts. His time in France enriched his artistic practice, though he returned to England shortly before the outbreak of the Second World War.

The war disrupted Josephs' career trajectory. After his demobilisation, he faced challenges in re-establishing himself as a professional artist. Nevertheless, he resumed woodcarving immediately upon returning from Italy in 1946. Recognising the need for financial stability, Josephs completed an emergency teacher training course in 1947 and spent the next 25 years teaching art and photography in London secondary schools, while occasionally lecturing on art theory. Josephs’ artistic practice was deeply rooted in a commitment to truth to material, particularly in wood sculpture. His work often explored themes of vitality and the human experience, as he explained: ‘I attempt in these sculptures to reaffirm the importance of being alive and aware of the shape of living, both in the environment and the imagination’ (artist's website). He described his creative process as intuitive and meditative: ‘The sense I have always had is that I do not so much carve my work as be present when it is being done’ (artist's website).

Josephs participated in several significant events during his career. In 1954, he was part of a symposium on painting and sculpture held at the Ben Uri Gallery, alongside Kalman Kemeny, Archibald Ziegler, and Alfred Harris, with Michael Webber serving as chair (Jewish Chronicle, 1954). The symposium reflected his engagement with the broader art community and his willingness to explore theoretical discussions about art. In addition, he contributed to interdisciplinary events blending visual art, poetry, and music. In 1963, he took part in a Ben Uri Gallery programme titled Cain: An Entertainment of Poetry and Music, which featured performances by Karen Guser and Pamela Metnikoff (Jewish Chronicle, 1963). Such events illustrated his interest in integrating multiple forms of creative expression. Throughout his career, Josephs exhibited widely. He was a member of the Ben Uri Gallery from 1945 to 1949, where he also served on the committee.

Beyond Ben Uri, his work featured in numerous group exhibitions and several solo shows. A standout exhibition was held at the Queenswood Gallery in 1952–53, where his wood carving Pearl Diver was praised for its ‘masterful sculptural rhythm’ (Jewish Chronicle 1960). Later, he held notable solo exhibitions at the October Gallery in 1989 and 1993, further cementing his reputation as a master sculptor. Josephs’ literary interest was evident in the two volumes of poetry he published during his lifetime. This multifaceted creativity, encompassing both visual and literary arts, reflected his deeply interdisciplinary approach. Josephs’ legacy includes a substantial body of work encompassing wood sculptures, paintings, watercolours, engravings, and life drawings. Laurence Josephs died in London, England, in 1998. In the UK public domain his archive, including sculptures and related materials, is housed at Leeds Museums and Galleries, while the nearby Henry Moore Institute holds papers and photographs.