Dennis Farr and Eva Chadwick, Lynn Chadwick, Oxford, 1997, no. C3, illustrated p. 310-1
L. Thierry, "Lynn Chadwick", L'Oeil, 1983, Paris, no. 82 (titled as Jubilee II)
Nico Koster and Paul Levine, Lynn Chadwick, The Sculptor and his World, Leiden, 1988, illustrated pp. 100-101

Maquette Jubilee II illustrates Chadwick’s interest in analyzing modern man. Colette Chattopadhyay describes the sculptor’s fascination with creating a personal vision of the modern world, “Assaulting the ideal of Italian Renaissance sculpture that chiseled an image of humanity ruling the world with reason and justice, Lynn Chadwick sculpts a noir vision of the world as driven by primal, animal instinct and standardized, technological culture. Central to his oeuvre is a reinterpretation of the human condition in the information age. Accentuating the figure in art, he casts a series of anthropomorphic beings that seem simultaneously human, robotic, and beastly” (Collette Chattopadhyay, Lynn Chadwick, Sculptures and Drawings 1955 to 1991, (exhibition catalogue), Los Angeles, 2002, p. 5). She further explains, “Exploiting Cubism’s inherent satirical possibilities, Chadwick wryly uses square and rectangular heads as a generalized leitmotif for modern man, accentuating modernity’s lust for media programming and disinterest in speculative thought. Chadwick’s modern woman fares no better, graced most frequently with a triangular head, which like her blockheaded male counterparts, suggest the passive, mindlessness of contemporary existence” (Collette Chattopadhyay, ibid, p. 6).

Chadwick explored movement in his sculpture and as Dennis Farr and Eva Chadwick note, “From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion.  Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures.  This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures” (Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, Oxford, 1990, p. 15).