Much medieval sculpture was in the churches, and was destroyed at the Reformation and by the Puritans in the 17th century, but many Celtic and Anglo-Saxon crosses from the 7th to the 11 th centuries survived and many Norman churches have rich carvings. One of the best examples of Gothic Sculpture in England is the west front of Wells Cathedral. There are 13thand 15th-century tombs atWestminster Abbey and Canterbury Cathedral.
The only work produced in the 16th and early 17th centuries is tomb-sculpture, often of alabaster, and brightly coloured. Later in the 17th century, Grinling Gibbons did elegant decorative work, mostly in wood, in private houses as well as public buildings. During the 18th century, highly decorated monuments were produced, e. g. those in Westminster AbbeybyJ. M. Rysbrack and L. F. Roubiliac. In the later 18th century and early 19th century, sculpture became simpler, in the neo-c1assical style. The portrait busts of J. N ollekens are outstanding. Other leading sculptors of the time were Sir R. Westmacott and J. Flaxman, whose monuments are less effective than his designs for Wedgwood pottery. The most distinguished sculpture of the mid-19th century is that of Alfred Stevens.
Later Victorian sculpture tends to vary between being overrealistic or too simple in its neo-c1assical form. In the 20th century, Jacob Epstein is best known for his portrait bronzes, which continue the tradition of Rodin. The modern movement in sculpture is represented by Eric Gill, Henry Moore and Barbara Hepworth. Other modem British sculptors are Lynn Chadwick, who makes heavy metal structures on thin legs, and Kenneth Armitage, whose works are usually animal forms, also in metal.
The “new sculpture” of the 1960s was totally different from earlier sculpture: Anthony Caro follows the American David Smith in using ready-made steel parts for his constructions; Eduardo Paolozzi also works in steel, making objects that look like machines. Other artists like Philip King work in plastic or fibreglass. All these artists use bright colour in a way that brings scul pture closer to painting.
