In 1926 in Epping Forest I modelled a life-size figure which I intended for a group to be called “The Visitation”. I can recall with pleasure how this figure looked in my little hut which I used as a studio. I should have liked it to stand amongst trees on a knoll overlooking Monk Wood. This figure stands with folded hands, and expresses a humility so profound as to shame the beholder who comes to my sculpture expecting rhetoric or splendour of gesture.... When I exhibited the work at the Leicester Galleries, wishing to avoid controversy, I called it “A Study”. By this disguise I succeeded for once in evading the critics, always ready to bay and snap at a work. A subscription was raised to purchase it, and I recall that Richard Wyndham gave the proceeds of an exhibition he was holding of his own work towards its purchase for the Tate Gallery.

— Epstein

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• In the source country of the artwork or sculpture, taking photographs of such works permanently located in a public place does not generally infringe on their copyright, under a principle known as "freedom of panorama".
• In U.S. law, there is no freedom of panorama for artwork or sculptures, and under the choice-of-law principle lex loci protectionis, U.S. courts might apply U.S. freedom of panorama standards to this work, rather than the standards of the source country. However, in practice, it is unsettled whether and how this approach would be applied in real-world U.S. legal cases involving freedom of panorama elements.

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http://creativecommons.org/publicdomain/zero/1.0/deed.enCC0Creative Commons Zero, Public Domain Dedicationfalsefalse