Henry Moore - Sculpture and Drawings 1949-1954 (Art eBook)

HflRIN

COUNTY FREE LIBRARY

Volume 2

ture & Drawings 19 49 -1954

s&

-*Ka

:

This volume

is

a superb illustrated record

of Henry Moore's work from the beginning of 949 to the end of 1 954. This was a period 1

in the artist's

development notable

large sculptures

on a monumental

They helped

with a public theme.

for

scale

and

establish

Moore

as the unrivalled international figure

that he

is

today. These major works are

comprehensively

with a profusion

illustrated,

of views and details and in certain cases

photographs of earlier stages

Over 160

illustrations are

in their

making.

reproduced, and

they include a section devoted to the sculptor's drawings

show

his original

which

many instances

in

conceptions for the

sculptures.

This

is

a second edition, revised, of the

volume

originally published in

the text

and plate

1

955. Whilst

sections of the original

edition are preserved virtually intact, an

important addition

is

the catalogue of all the

sculpture of the period, compiled by Alan

Bowness. This follows on from the catalogue in

Volume

1

catalogue in will

and

will

Volume

be continued by the 3. It is

an addition that

enhance the value of the

series as a

complete record of the work of Henry Moore.

Apart from the catalogue, the

an introduction by

Sir

biographical note,

lists

bibliography, and

important of the

text includes

Herbert Read, a of exhibitions,

some of the more

artist's

own writing about

sculpture.

Lund Humphries

£3

10s

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730-9^2

No

Moore Henry Moore: sculpture and drawings v.2. 2d ed.

Library

23-22)

HENRY MOORE VOLUME TWO

SCULPTURE AND DRAWINGS 1949-1954

HENRY MOORE VOLUME TWO

SCULPTURE

AND DRAWINGS 1949-1954 WITH AN INTRODUCTION BY HERBERT READ

LONDON PERCY LUND, HUMPHRIES & COMPANY LTD

ZWEMMER

A. American

Distributor-.

Wittenborn and Company Ave., 1018 Mad-son

New

York 21 N.

T.

Mcrin County Tree Library Civfc Center Administration

San Rafael,

Building

California

ALL RIGHTS RESERVED

COPYRIGHT © [965 BY PERCY LUND, HUMPHRIES 12

BEDFORD SQUARE, LONDON

First Edition

\V

<

:

& CO.

I

1955

Second Edition, revised 1965

143739

MADE AND PRINTED

IN

GREAT BRITAIN BY

PERCY LUND, HUMPHRIES & COMPANY LIMITED LONDON AND BRADFORD

LTD

CONTENTS Frontispiece: 'him;

and Queen*

at

slum-head

Introduction by Herbert Read

Page

Observations by Henry Moore Biographical

ix

xiv

Summary

xvii

Exhibitions

xviii

xx

Bibliography

Catalogue of Sculpture by Alan Bowness

xxiv

PLATES Sculpture

Drawings

Plate JVos.

1-84

85-116

NOTE

PUBLISHERS'

This

is

a second edition, revised, of the volume originally

published in 1955.

It

illustrates

in

and drawing from the beginning of 1040

somewhat misleading

the end of

to

tion

'954-

Mr

David Sylvester and the

were responsible

artist

the arrangement of the plates in the original edition, the documentation

Tamora

Miller.

The second

Mr

through the press by

British Council,

edition,

new

and

and of Miss

The

intact.

amended

duction by Sir Herbert Read has been

in

Volume

3,

which

is

and

1

and a short

period has been added.

list

felt

compelled

owners since

permanent form

it

is

to informa-

to give a better

view of a par-

the bronze cast rather than the

and 84 have been catalogue section, and the

original plates 12, 13 illustrated

replaced by a four-page section showing the Harlow

The major

stylistically

belongs to this period.

addition to the volume

is

the complete cata-

logue of Henry Moore's sculpture of the period, compiled by

Mr Alan

Bowness with the help of Mrs Betty Tinsley. This

continues the catalogue included in

later events

Volume

1.

Each plate

this

now carries not only its plate number but also (in parentheses)

one-man

a catalogue number, and in the catalogue are to be found

of mixed exhibitions from the

small illustrations of every subject not reproduced in the

published simultaneously with

edition. This revision also applies to the

exhibitions,

is

made show

Family Group which

intro-

slightly to

shortened to cover only the period reviewed in the volume,

Volume

The

withdrawn into the last

take account of the passage of time; the chronology has been

since earlier. events are listed in

block has been

plaster model.

which has been seen

volume

ol

which must of necessity change with the passage of time.

ticular subject or to

Alan Bowness, preserves a very

large proportion of the original

to give

list

The plates retain their original sequence. Occasionally a

for

was compiled with the help of Miss

Margaret Maclcod, of The

original form, but the publishers have

its

with some reluctance to omit the

Henry Moore's sculpture

The bibliography

list

of

has been retained

plate section.

ACKNOWLEDGEMENTS The photographs

of the sculptures are by the

artist,

with

the exceptions of No. 26 (by Lidbrooke), No. 28a (by Felix

H. Man), N0.74 (by Mrs V. C. Wilson), N0.53 (by John

Underwood), No. 80 (by Simon Reid) in situ),

The

(of

King and Queen

and No. 28 (by Elspethjuda). portrait of the artist

is

Roger Wood.

Vlll

reproduced by courtesy of

INTRODUCTION li

In

tliis

t

HERBER T

K

1

A

I)

second volume of Henry Moore: Sculpture and Draw-

work of only six further /ears is in question, bul were fruitful and even decisive years, revealing the

ing, the these

artist in his full

maturity.

They were also years that saw

the rapid extension of his fame, until he

head of the world's

now

stands at the

sculptors.

The consolidation of Henry Moore's reputation came with the Venice Biennalc Exhibition of [948,

awarded the international prize

for sculpture.

when he was The tributes

made it clear that there was an almost unanimous agreement among the world's leading art critics, not only that Moore was technically and paid to his work on that occasion

aesthetically the

that he was

also

most considerable sculptor of our time, but an

artist

peculiarly apt to express a specifically consciousness.

would not

some manner modern range of

whose images were

Anyone wary of

in

the deceits of the Zeitgeist

press this latter claim:

it

is

safer to base

our

Page from a notebook

Page from a notebook

95"

judgement on objective elements of form - on elements, that

is

to say, that are

from any age.

common

to

enduring works of

art

not difficult to justify Moore's great

It is

reputation on grounds that are primarily aesthetic. Every

work of

this artist exhibits a perfect

mastery of the plastic

coherence as mass or volume,

its

balance and rhythm, the harmonic relationship of part

to

values of sculpture

part

its

and of each part

to the

whole.

Bul these formal elements arc always used for an expressive purpose, effects that

the

make

and

in

for his

Moore's case

its

definition,

expressionist.

There

is

the expressive

his greatness. If

historical associations that

would be accurate

it

is

uniqueness and for

word were not plastered with

blur

it

throughout

his

to

work

call

a

him an

discursive

power, an implicit potency, that comes from some deep

level

of consciousness. Let us not, on such a brief occasion, invoke

archetypal images

IX

especially as a profound study. from

missioned Madonna and Child for Claydon Church

Plau

and«the reclining figure on die terrace of the Time-Life building I'huc 62 which is equally a special case, there is ,

no sign anywhere

in this

period of a return to any sale har-

bour of acceptability, hut rather a of exploration and invention. K|",i

PI.

He

'22

is

ill

line

with the

left

in

fine reclining figure of s^rcai setirs o[

reclining

volume; hut even here,

figures illustrated in die previous

the web-like striations

maintained energy

folly

The

relief,

there

is

in

new and

a

expressive invention.

The most probably the in the

considerable achievement scries of sealed figures in

King and Queen group

of this period

is

bronze culminating

Plate 80).

Here there

an

is

obvious link with the various family groups beginning

1944 and continued

group

and

it

(Plate is

l).

a break with

volume with

this

in

But there

the

in

Stevenage

an equally obvious break,

is

humanism and an advance

into the

superhuman realm of myth. This king and queen never they were crowned in Erebus, or reigned in our world perhaps in some Olympian grove. They arc figures of mystery they

or

are

they

fate:

not

calmly

look

even

agitated

preliminary sketch for them

is

the

into

And

futurity.

Oucen's hands

seen in Plate 78)

(a

on

rest

her lap in a relaxed gesture of acceptance.

This group marks a climax Page from a notebook

1951

in

ment, but another and a different tendency must be noted that represented

by the Time-Life reclining figure already

mentioned (Plate 62) and by the lor this

point of view, has been

The very limitation

made by Dr

Erich

Neumann.

of Moore's subject-matter- the reclining

Henry Moore's achieve-

it

(Plate 63),

(Plate 83).

and

Here

is

also

torso

which was a study

by the recent Warrior with

a distinct Hellenic note, and

direct result of a visit to

it

Shield is

the

Greece which the sculptor made

in

female figure, the mother and child, the family group, forms that

might be

foetal, blind

vermicular heads - indicates a

canalized strength, reaching deep into the unconscious,

than

rather

an

dispersed

attention

among

phenomena. This strength-by-limitation so

many

choice:

of the greatest is

it

does not

artists)

superficial

(characteristic of

come by

conscious

an imperious and almost impersonal impulse

that uses the artist as

its

medium.

In the questioning days at the end of the war, there was

some

talk of a return

Moore's

may have

to

"humanism', and some words of

flattered

widespread nostalgia

a

naturalism. In the evenl there has been

such a reaction this period,

and the

in

Moore's

case,

his

lie

works 1

of 1

I

frieze for the

past

t

such as the lead helmets of [95O Plates 10 and

Time-Life building (Plates 64

as intransigeantly super-real or in

evidence of

little

and some of

for

71

1

are

even 'abstract' as anything

work. Indeed, apart from the special!)

com-

Page from a notebook

195'

'

mystery,

human

of the

sublime Struggling It

tooted

expression

to

the

in

chthonic,

of the

pagan death.

in a

be observed that there are proportionately fewer

will

drawings

in

volume, but as

this

I

explained

the Intro-

in

duction to the previous volume, drawings done for their

own were

sake, a

and not

solely as preliminary studies for sculpture,

war-time measure. Willi

opportunity

explained

demand be in

cast

;

return to normal supplies has had

drawing. Anothe^"dirFerence

lor

proportionately greater partly

a

Moore

of the sculptor's raw materials,

by

number

it

is

also

due

is

and

may

same model can

not the place for an academic discussion

and

Moore has given

sufficient

direct carving;

evidence of

and

distinctive qualities,

there are

Page from a notebook

1

951.

1

Moore was never

lacking

in

95

admiration of the 'great'

period of Greek sculpture - in one of His rare writings speaks of the Archaic Greek gallery 'with

its life-size

ness,

grand and

in

female figures, seated full like

in

the British

a few other isolated pieces there,

it

is

come

fundamental experience understanding of some in the pieces

I

life.

for

This

C

referring to

now no

visit to

the Attic-

in

Greece was a

Henry Moore, and

aspects of the

am now

ception of drapery,

to

Museum and

necessary, as has

frequently been said, to sec Greek sculpture it

natural-

still

Handel's music". But magnificent

as are the Parthenon fragments

landscape to see

Museum

the British in easy,

a

is

evident in a

new

made

tense

The

reminiscent of the archaic bronzes of the eight

and seventh centuries on a body that

human. This a

con-

and contrapuntal

by the hard outward thrust of the underlying volumes. is

new

evident

ircck genius

longer a secondary rhythm, hut

a nervous integument, a veil

Warrior

lie

is

is

B.C.,

but the mythical head

sensuously

a

poised

modelled and poignantly

not an imitation of

new icon expressing

is

its

Greek prototype:

modern consciousness of

it

is

the (berk

XI

and

more temptations

to

if

ol

in

his belief in

the unique virtues of direct carving. But modelling has

own

be

aesthetic qualities of this

the relative merits of modelling the past

now

to the sculptor's increasing interest

the technical resources

medium. This

the

economic laws of supply and

the

several bronze replicas of the

but

is

bronzes. This

ol

lime or

less

its

they are not abused (and

abuse

in this

medium

than

in

carving), then fertile

its

expressive freedom

imagination.

Thus

is

an advantage

case of the school the sculpture

to a

some extent

the small bronzes to

additional

is

replace the independent drawings, as quick records of a

In the Time-Life building the sculpture

mood

structure. This

or an intuition;

they have far greater plastic

but

word of explanation should be devoted to the on the Time-Life building. Here the artist had to a problem in direct consultation with the architect

Kosenhauer). screen for

The

frieze

is

functional in that

the terrace behind

the plan of the building.

make

it

Moore's original intention was

movable within

occasionally be changed,

merged

Moore's commissions

"I

it.

into the

be

to

to the screen (see Plate 68).

But

official

regulations

moorland

to

modern building a series of

in the heart

modern

of

and

like

some

genius

malala in Padua,

how few

A

art,

great

work of

<

.

giving form and definition to

loci,

We

act of contemplation

thoroughfare.

is

It

if

we watch

the

Trafalgar Square, or Gatte-

glance up to the familiar figures.

an act that

group outside a County Council school (Plate

dramatically isolated

xn

but

is

its

essence to an

impossible in a busy

has some chance of recognition in a park

or garden: but attention

In the

in

normally associate monucities,

however, only yields

even a more significant development than the placing of a i).

illustrated in Plates [8a

- one of Moore's most successful

people passing King Charles

Never-

this

18)

mental sculpture with crowded

London has been

sculptures,

is

and sculpture. The gaunt

of landscape

the prevailing atmosphere.

their

would not

fixed.

oi

creations during these last five years - emerges from the

and a sense of openness be given

countenance such an innovation, so they are

integration

bronze figure (Plate

provides a

it

- a terrace necessitated by

the four sculptural elements

decorated with

first

Another interesting possibility the

frames, so that the pattern presented to the spectator could

theless, a

was the

is

architecture and sculpture.

Finally, a frieze

could

executed which shows the possibilities of an integration

significance.

solve

it

be removed without a Heeling the architecture behind

in a

is

best induced

landscape.

when

it

stands

Photograph of the

Roga Wood artist, it,-'

Mil

.

OBSERVATIONS BY HENRY MOORE Notes on Sculpture

I

When

began

I

to

make

sculptures thirty years ago.

was

it

trained eye

very necessary to fight for the doctrine of truth to material

more

is

human

critical of the

because

figure

ourselves.

it

is

I

think that the most 'alive' painting and sculpture from

the need for direct carving, for respecting the particular

character of each material, and so on). So at that time

make

of us tended to but

a fetish of it.

think

still

I

is

it

many

important,

now on

should not be a criterion of the value of a work -

it

snowman made by

otherwise a praised at

the expense of a

adherence

to

master of

be

to

The

sculptor ought

'abstract

experimental

domination of the

in

is

is

the necessary foundation for a sculptor.

most complex and subtle and

and construction, and

so

it

and comprehension.

will pass

muster

there

who

present there is

a natural

arc following past

difficult to

is

an art of the open-air. Daylight,

is

nature.

A

moderate

landscape or a

tree,

and

it.

distorts the forms in order to create space

.

its

best setting

would rather have a piece of

I

sunlight

is

and complement

my

sculpture put

figure in a landscape,

almost any landscape, than

in.

or on, the

figure

most beautiful building

grasp in form

know

I

Reprinted from the catalogue of the exhibition of

ability to 'draw'

Henry

but even the un-

.

me

for

Mm, >e

at

the Arts Council

Some Notes on Space and Form

II

at

artistsj.

makes the most exacting form

for study

One

human The human

opinion, long and intense study of the

in a

than ever

artists

Only, not a cruel master.

his material.

necessary to

my

1

be the

to

Sculpture

In

go more 'humanist', though

will

more

time-lag in the work of the majority,

Rodin or a Bernini. Rigid

the doctrine results

sculptor by the material.

would have

a child

are

in recession

.

the

Tate Gallery, published by

of Great Britain, ujji.

Sculpture

in

inhabiting a tunnel. Seen

in

plan the figure has

'pools' of space. If

space

a willed, a wished-for element in the sculpture.

is

then some distortion of the form is

to ally itself to the

space -

FORM FROM THF

necessary.

At one time the holes

own

sakes.

Because

in

right, the solid

my

sculpture were

was trying

I

spaces in the sculpture,

own

I

made

to

spaces

I

holes)

portant

than

the

Figure

think

I

aim.

I

What

I

other.

is

in

In

shell

\ S

IDF

OUTWA RDS

last

being

bronze

perhaps most obvious

legs,

into,

force,

made by

forms straining or pressing from

Knees, elbows, forehead, knuckles,

outwards.

and the

more

and

Hardness, vitality.

(

projection

ilenehcd

if

Although carved sculpture

in-

if it

Reclining

some measure succeeded

in

ends by seeming

out of a larger mass,

this

this figure

looked at lengthwise from the head end through end. and the arms. body.

inside.

its

is

fist,

all

seek to press

outwards, gives tension.

symbol of Power

of Force.

holding the hole.

the forms

neither

the

Force, Power,

become conscious of

make

to

inseparable,

have

mean

for their

body was encroached upon, eaten

have attempted

(not

made

the hole have a shape in

and sometimes the form was only the Recently

I.

Tension and inner force offorms

to it

is

approached from the outside.

be sliced or scooped into will not

have

its

maximum

its

shape

sense of

bigness.

is

SCI

to the foot

LP

1

1

RF / V

////•;

OPEN AIR

looks smaller than

when

seen in the enclosed spaces of indoors. Landscapes, clouds, the

elbows, etc. arc seen as forms

XIV

sky,

impinge on the sculpture and red nee

forms tend

minimum

seems thai

net lust. Ii

t

bulk

needed,

is

its

the

in

hulk

open

And

thin linear air a certain

He must make

of the sk) and large distances. s/'.

far side to

become such

sculpture should imi

I<

I-,

in

form

is

weak and impoverished.

.1

fetish thai the

slopping

ULPTORS' DRAWINGS

There

is

diagrammatic

1

drawings should be

the object

stuck on the

is

to set

flat

That

it.

an object

it

in space,

at

edges).

ils

necessary to give

It is

,1

not an

and

the possibility

it

an existence beyond the surface of the paper.

flat

anything breaking

shading,

the

plane of the paper, opens up a suggestion,

a possibility of SPACE.

surface of the paper with no

Reprintedfrom Eight

H.

it

European

Man -published by

II*.

Artists, by Felix

Heinemann

Ltd.,

London

- Melbourne - Toronto. August 1953.

with the ground, with gravity.

Notes on the Sculptures made

Ill

make

is,

draws capable of having

is,

space - and often nol even to connect

in

it

thai

it,

tyranny of the

any sense of a background

studies, withoul

behind the object or of any atmosphere around

attempt

the object he

Any wash, smudge,

a general idea thai sculptors

with space as

object in relief (only half an object stuck on the paper,

ol

v

much concerned

as

is

the painter.

with the greal spaces

to contrasl

\ei the sculptor

for the

Time-Life Building,

London I

was asked

to

the

make

London, and a reclining

more It

was decided upon,

made

Street, as being

I

had

be

my

do a draped reclining

to

in

drawings during the

like

my mind to use drapery on sculpture in a way than I had used it in my stone sculpture.

as a

shelter

this figure

it

could therefore, in

my

hoarding first

thought

less

vertical.

was while thinking about

reen',

'S(

approached

welcomed

Bond

the

at

the chance of

'Reclining

this

me

and

terrace,

It

seemed

to

me

surface of the building -

for

and

is

it is

The

me

to

carve

thai it

it

is

it.

which gives an interesting penetration of from Bond Sireei makes it obvious that it not a solid pari

ol

also

is

a screen

and

would only be

that

using the position only poster. I

because

rejected

repetition

I

of the

tried to

I

vary

this

and make

it

doing so the rhythms became too

in

maquette

rhythm but was

tried

I

to

dissatisfied

more monotony

introduce a

with the

fourth maquette

became

I

thought was better and more

the definitive maquette, although

my

studio, preparatory to the

'Screen' being erected

on the building, there were other

changes -

I

the

it,

and

light,

rejected the idea

I

and regular a

the 'Screen', here outside

led

with a back as well as a front, and to pierce

to

In working on the four separate sculptural elements in

an obvious part of Un-

only a screen with space behind

rhythm

a further working model- produced other changes.

though

a continuation of the

building.

The fad

third

varied and so this

that the 'Screen' should look as

to give a

of the size of the forms.

I

working simultaneous!)' upon two

was part of the architecture,

the

horizontal

such entirely different sculptural problems.

it

symmetrical but

In

Figure'

about the sculptured

end of the

Street

on a stone

for sticking

too obvious

it

like

of the four maquettes

In the second maquette

as a contrast to the architecture of the building.

the architect

was

I

fenestration of the building.

opinion, be

have a value It

my aim

and

me

of the sculptural motives which should

hanging up a stone picture,

more an individual and complete work in its own right. In fact, being a more human and realistic work it would

that

sizes

harmony with the architecture. some pictorial scene, for

The

placed on the terrace and stands

is

from the building,

and

a portrayal of

in

it

realistic

Because

doing

me

for

the perspective sketch of the building beside

four maquettes

the spacing

suitable to the proportions of the terrace.

more free

Bond

building in

figure

was a good opportunity

figure, as ever since

war

With

a free standing piece of sculpture for

of the Time-Life

terrace

four

for

example,

sculptural

made

the openings larger to give

more individual

units

power and

importance. I

the building.

conceived the idea that

on occasions, be turned,

xv

i.e.,

if

each of the lour motives could,

put

at

an angle

to the surface of

the building instead of continuous with

give

them mure sculptural

should turn continually

each

months, perhaps

this

was found too

to turn

I

two or three

and expensive

difficult

to

do

some future date

that at

an

1

was pleased

to

do two such large

the 'Reclining Figure

1

and

"^<

the

j>i.

BILDHAt IK ANSTREBT,

HI R

40

4

1

I

Munich, No.

hcnui.

lupi.

,",.

illus.

.

,

2

message

in

1

\

s(

LPTt re, XX*

1

SiicU, Paris

n.s.

.

No.

1

1951

1.

ill

1

Ri 11.M.

SCULPTURE, Man.

review of the exhibition

Vol. 5 1, July 1951, pp. 95 anil 96, a the Imperial Institute.

at

.

30, i)4

171.

6,

exhibition".

Britain

illus.

Art d'Aujourd'hui, Pans. No.

|.

1950, 51, 52, Domus, Milan, No. 279, F'ebruary illus.

henrv moore purchase by cologne, London. Vol.

36 digby, georgf. WINCFIELD, 'Meaning and Kaber & Faber. London, pp. 61-105, illus.

June

>953j PP- 4 '-43-

Review ofBuchholz Gallery exhibition (212).

No.

12,

July 1954,

Art

News and

Review,

p. 3.

1955,

55 HODIN,

and

anielka, 'Englands Grosser Bildhauer: Henry Moore', Illustrierte. No. 51, March 1950, pp. 16-17, illus.

37 elter.

With

illus..

September 1953, pp.

HENDY, PHILIP, 'Henry Moore: His new Today, No. 158,

d'Eglise,

53 henry' 35

pp.

i

York.

52 ;4

Oslo", Bonytt, Oslo. Vol. 13, No. 9,

Moore, Ausstellung

lenry

illus.

51

33

I

vom 5. Juli his j. August, Hanover, i;. foreword by Alfred Hentzen. 68 exhibits.

J.

their

pp. 21-27,

i'..

'Recent Fiends

Origins',

in

Aesthetics

Contemporary English Sculpture Art Number, Bombay,

International

illus.

Europaische

38 fai ki nstein, claire, 'Work of Henry Moore", Arts and tecture, Los Angeles. Vol. 67. October 1950, pp. 24-26, illus.

56 HODIN, JOSEF P., 'Henry Moore', Kroniek van Kunst en Amsterdam. Vol. 11, No. 1, January 1950. pp. -5, illus.

Archi-

57 39 FINNE, 19. No.

FERDINAND, 'Henry Moore'. 2

3,

[951, pp. [4-23],

With English

Hogarth, William, London, Vol.

Kunsten Ida"., Oslo, Vol. 18

58

POURCADE, XAVIER, 'Henry Moore',

Elements,

No.

Paris,

59

Art,

New York,

m..

Vol.

'Film Review: 41!.

March

ci. iff, 'Henry Moore: nagra kritiska Anteckningar', Gdteborg, No. 3, 1953, pp. 78 80, illus.

HOPWOOD, GRAHAM,

61

", 1

I

LIMBOUR, GEORGES, 'Deux Sculpteurs Henry Moore I

les

Temps Modemes.

1329.

FRANKFURT, MANNHEIM, MUNICH, STUTTGART, BERLIN, BREMEN, 061 riNGEN. British Council Exhibition, same catalogue

62

manuel

'Northampton und die 124,

Modeme

georges, waldemar, Industrie, Paris,

)-,

'l.es

d'Henrj

Silences

January 1952, pp. 23 25,

gerstenberg, das SchSne lleim.

illus.

ONDON,

I.e. A.,

Retrospective Exhibition of Henry

ki ki. 'Besuch bei

Munich, Vol.

,z.

No.

,

graphical note.

Kirchen-

Moore'.

Art

illus.

March

1954, pp. 2

1

4

London, Leicester galleries, New

Bronzes by Henry Moore,

February March 1954, 16 pp., illus.. with biographical note. Brief bibliography. Note on Retrospective Exhibitions, etc.

,i

Henry Moore'. Die Kunst und 6,

Moore Draw-

by Robert Melville.

illus.

64 It

Adami',

No. 51, January 1930. pp. 1324

1

kunst'. Werk, April 4. 1949. pp. 122

&

63 i.ondon. Leicester galleries, Catalogue of an Exhibition of new Bronzes and Diau inns by I lent y Moore. London, 95 1 16 pp., illus. Inhibition No. 962, April 28-May 26, listing 57 works; bio-

exhibits.

oassik.

I

Paris. Vol. 5,

ings, 1952. Introduction

each: Henry Moore: Ausstellung :-

Icru

'

Moon-'.

\

Mozaik,

Yugoslavia,

nbwton, eric,

83

in Christmas Pie, 1947, pp. 97

100,

illus.

-

w ion. eric, /" My View, London. New Yoik. loionto. Long1. mans, Green, 1954, pp. |t Reprinted review of'Henrj Moon Sculpture and Drawings'.

84 ni 67 \i\n. Felix

Photographed and Edited by

Eight European Artists

11..

Ftlix II. Mini, with Original Contributions by the Eight Artists,

1

London.

Hcincniann. 1954.

[-'41). pp.. illus. Text printed in three languages: English, French

and German.

85 nicol, in

Includes chapter [| on and l>\ Moore, with facsimiles ofMSS. titled: 'Sonic Notes on Space and Form in Sculpture', 'Form from the Inside Outwards', 'Sculptors' Drawings'.

Autumn

1

bear, 'The Metal Standing p.

954,

86 osto. ki nsi ni i< s II. Mai\. ( 1 4. Februar Same catalogue at 1

ill!

MANCHESTER, CIT^ \ri GALLERY, Drawings, igsg 1046, June logue details.

July

1

17.

Henry Mtinir: Sculpture and

111

s.

)slo.

Heni\ Moore: Sculptw 1953, 16 pp.,

No.

Qjust,

17.

illus..

53

og Tegninger

.

.

.

exhibits.

BERGEN and TRONDHEIM.

NATIONAL

mi ski

organisee par

MARTINELLI, VALENTINO, 'Sculpture modcrne all'aperlo'. Comtnentari, Rome. Vol. 4, No. 4, October December 1953, pp. 306317.

-.

1949. See Wakefield for cata-

87 PARIS, i»l

Figure',

19. illus.

MODERNE,

ii'ahi

M

Heniy

British Council. Paris. 1949. 12 pp., illus.. '•

Le Biennale

di

95

Venezia, Venice,

p. 7. illus.

\it

sgrave,

No.

17.

.

.

.

Jit

b.

i.,

liliik in

'The Reclining Figure',

Winter 1952, pp.

Die Welt,

York.

i.'i).

230,

Heniy Mmnc.

jo Mci 12 Ju/i Rotterdam. 1953. 20 pp.. With a statement by Moore and introduction by Philip

iboth of these in Dutch and English

Hendy

Hamburg. No.

1

/

cioRGio, 'La Testimonianza 4. Bologna. 1949. pp. i and

Anno in. No.

eeds Arts Calendar, \ ol. 5,

71 exhibits.

.

NEW YORK. BUCHHOLZ GALLERY, CURT VALENTIN, December

sicao de

Moon'.

Sodalizm,

17. illus.

museu de arte moderna, Cr

4.

Obras de Moore. Richards. Evans.

'953- 8 pp.,

Scott.

Espo-

-Bretanha:

Can. Ileum. Sao Paulo.

illus.

'Organizado pelo British Council para a II Bicnal do Museu de Arte Moderna.' Biographical note. 6g sculptures and drawings, in all, 29 by Moore.

Henry

New

York, 1954, i(> pp., illus. 32 works 1950 I9y;. plus drawings, pastels, water-colours. Text by the artist: 'King and Queen". 'Notes on Sculpture'. i»

di

7. illus.

new vork. BUCHHOLZ GALLERY, CURT VALENTIN, Henry Moore, March 6-31. New York. 1951, 14 pp.. illus., 65 exhibits.

98

SAUMEl 16, 1952,

mew york.

New )

illu ---

Mnore, November

82

1

Georganiseerd door the Riilnli Council,

97 sao PAii.o.

80

(.., Sculpture of the Twentieth Century, Art. 1953. pp. 24-25, 33-34. (i. 2

ROTTERDAM. BOYMANS MUSEUM,

96 ruggeri, 79

Modern

Statements, biographical note, bibliography.

MUNZ, LUDWIG, 'Henry Moore', ">"

of

illus.

February

illus.

78

ANDREW

94 RITCHIE.

-

moore 16,

New

Current Biography,

illus.

93 READ. HERBERT, The Philosophy of Modern Art. London. I'aber and Faber, 1952; New York, Horizon, 1953. Ch. xi 'Henry Moore", pp. 195-215. is reprinted from the introduction to the Lund Humphries edition of 1944.

'Brev fran London'. Konstrevy, Stockholm,

Museum 76

Art'. Eranes-Jahrbuch, N.NI.

Rhein-Verlag, Zurich, 1953. pp. 279-274,

exhibits,

41

illus.,

pp.,

Sculptme and Drawings, Third reand much enlarged) Edition, London. Lund Humphries; New York. Curt Valentin, 1949. 350 pp.. illus.

Exposition de DibujOS de

British Council,

including photographs of sculpture. Preface by G. Grigson. biographical note; 97 exhibits. 12

read. Herbert. Henry Moore, vised

PP- "7-95-

;

illus.

the Siting of Public

Sculpture". Architectural Review, London. Vol. 115, February 1954.

7

NtWS and

Ail

jb. 1949, p. 25. illus.

temporary Aesthetic,

News,

1949, pp. 16, 19 20. 22, 36, 7-'

March

modern art, Masters Oj Modem Art, Ban. Jr, .Ness York, Museum of Modern Art. distributed by Simon and Schuster. I9",|. pp. 148 149. illus.

is.

1

1

No.

is m.,

'Una

\isita a

Henry Moore'.

Alcnro.

August

15, p. 7- '"us.

mi jEt m ni

Edited by Alfred

Moon'. Munchen, September

99 schapire, or rosa, 'Heni\

II.

gang

XXM

Nummer

18

Die 1-,.

Weltkunst,

1953, p.

xxm

Jahr-

2. illus.

oomez, 'An

inn mi ki. [osi 1950, pp.

I

Critic

oil

a holiday', Americas, January,

1

10

VIENNA, ai.bkktin a, Henry Moore, phik, Ausstellung, Novembet

19, illus.

I

V) pp., I.

H

-.1

Mil

No.

1

I.

\\

A

I

I1KMAR. 'lhlll\

May June

3.

11)51.

Moore', The Norseman, Vol.

pp. 183-187,

STOCKHOLM, AKAI1KM1K boki;

111

also

KORKOPINO, OREBRO,

1.0111

[2

Henry Moore: Skulpturer och Teckningar, 1952. British Council and Riksforbundct for Bildande Kunsi. Introduction by Herbert Read. Biographical note. 55 British

.

Council

illus.

IX.

illus.

vre

e,

blad.

102

Zeichnungen KUirtpUutik (•inDecember, Wien, Verlag Anion Schroll,

Exhibition,

Paul

de, 'Henry Moon-', Bouwen en Wonen, No,

Maart 1951. pp. 137

1 .)

1

\.

Maand-

illus.

,

vrinat, Robert, 'L'Evolution de la Figure coucl dedans I'CEuvre de Henry Moore'. L'Age Nouveau, Paris, November 1949, |i'>| pp., illus.

Unpaged

insert; bibliography.

exhibits.

113 103

storey, benjamin. Una Rctrospettiva di Henry Moore', Emporium, Bergamo, Vol. Ill, Xo. 663, March 1950, pp. 13-118, 1

On

the exhibition organized by the British Council for

'In Mostra di Henry Moore Xo. 656, August 1949. pp. 90-92, illus.

1

104

10,

STRACRAN,

W.

book', Image, 8,

J..

1952, pp. 3-16,

Vol.

,

114

Hafte

georg, 'Henry Moore',

Konstrevy,

Stockholm, 1951,

Sculpture', Britain

107 trier, ed lard, Modeme Plastik: Von Auguste Rodin Marini, Berlin, Mann, 1954, pp. 63-64, 93, illus.

bis

TURNBULL, clive, 'The Quarter, 1947, pp. 32-35,

109

Art of Henry Moore',

Today,

Kroniek ran Kunst en Kultuur,

goethe, jomann Wolfgang von,

Promethee : Traduction par Andre Gide. lithographies de Henry Moore, Paris, Henri Jonquieres, P. A. Nicaise, Editeur, 1950. Limited edition; 183 copies; 8 colour lithographs. Reviewed by

R.M.-U.

Marino

Meanjin,

in Arts, Paris.

No. 311,

hawkes, jacouetta, A London,

May

18, 1954, p. 4.

Land, with Drawings by Henry Moore,

Cresset, 1951, 18 col. drawings.

1st

illus.

underwood, Margaret,

ganymed prints of sculptors' drawings, London. Lund Humphries, 1950. A series, including a coloured reproduction by Moore.

117

108

No. 42. 1951,

BOOK AND MAGAZINE ILLUSTRATIONS BY MOORE

for a

4, pp. 184- 190, illus.

Sylvester, david, 'Henry Moore's Xo. 215, March 1954, pp. 32-35, illus.

Varld,

illus.

illus.

116

106

widlund, agnes, 'Henry Moore', Damernas Sweden, pp. 30-31,

115 105 svensson,

21.

European

a Wakefield'

'Henry Moore's Promethee, Experiments

Summer

Henry Moore : Sculptures and i_

49

Three Standing Figures

(322)

bronze

(3

SO

Leaf Figure No.2 (324) bronze (10

in.)

1952

51

Leaf Figure No.

I

(323)

bronze (10

i

1952

1

52

Seated Torso

(362)

bronze (19;

in.)

1954

53

Reclining Figure No. 3 (330) bronze (8j

54

Reclining Figure No. 5 G33) bronze (8^

in.)

in.)

1952

1952

55

Thin Reclining Figure

(334)

bronze

(6 in.)

56

Reclining Figure No.

(327)

bronze

(8 in.)

I

1953

1952

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Draped Torso

(338)

bronze (35

in.)

1953

63a

Another view of 63

64

Time

Life

Screen-Maquette No.l

(339)

plaster

(7x

13 in.)

1952

w>« t-i--

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65

Time

Life

Screen-Maquette No.2

(340)

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(7^13

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in.)

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plaster

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Seated

Woman

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(346)

bronze

(8

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76

Seated Figure

(345)

bronze

(8 in.)

1952

77

Seated Figure

(347)

terra-cotta (41

in.)

1952-3

77a

Detail of 77

78

Study for Hands of Queen

(349)

bronze

(5 in.)

1952

79

Maquette

for King and

Queen

(

348)

bronze

(9 in.,

with frame

10;,

in |

1952

80

King and Queen

(350)

bronze (64^

in.)

1952-3

80a

Another view of 80

80b

80c

Views of 80

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Shawhead

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Shawhead

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80g

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bronze 7

1952-3

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Warrior's Head

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1953

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