The scholarly consensus seems to be that Leonora Carrington was not actively involved in many – or most – of these late career sculptures. Marina Warner told me they were ‘versions of works she made – interpreted in a different medium’. It seems likely that some of them are reinterpretations of drawings or paintings, possibly based on sketches. Later in life she made little models in plasticine – there was one on the bench in her studio when I visited her in 2008. Some of them seem to have successfully made the jump into bronze, but many have been transformed beyond recognition, blown up into vast soulless structures with the precise proportions lost and one struggles to see the hand of the artist (or any artist).
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