The crossed feet and hands are abbreviations of the limbs, an extension of the contradictory, relaxed torsion in the body. The contours of the sculpture evoke, as Moore noted, the disparate and enigmatic contours of the landscape, opening up voids beneath the shoulders and under the arms, echoed in the arching of the legs. The sculpture can thus be seen in the round, each angle stimulates a new and perhaps surprising interpretation. Family Group(1950) by Henry Moore, located at the Barclay School in Hertfordshire in the United Kingdom; Henry Moore, CC BY-SA 2.0, via Wikimedia Commons Works by Moore are in the collections of institutions in 25 states and the District of Columbia. [81] Henry Moore was born to a mining engineer father and a housewife, and his frequently economically distressed father urged him to receive an education and a proper profession. Moore’s father’s vehement aversion to the excessive physical existence of mining produced difficulty when Moore eventually chose sculpture as a career, a job his father considered manual work.

Britain's cultural elite battles to halt sale of Henry Moore sculpture". The Guardian. 3 November 2012 . Retrieved 7 January 2023.The Arch (1963 – 1969) by Henry Moore, located at the Kunst in Schwäbisch Hall; Chandravathanaa, CC BY-SA 4.0, via Wikimedia Commons Moore's reclining figures, such as the 1930 Reclining Woman (bottom), were influenced by Chac Mool figures, such as this one (top) from Chichen Itza.

In John Hedgecoe’s seminal book on the artist, Moore states, “from the very beginning the reclining figure has been my main theme.’₁ This subject is central to Moore’s creativity throughout his career. In his own words, “the reclining figure gives the most freedom, compositionally and spatially… A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity.” ₂ https://www.henry-moore.org/shop/books-and-publications/henry-moore-publications/product/henry-moores-sheep-sketchbook# Moore was a member of the Seven and Five Society from 1931 and he was invited to join Unit One; a group whose members included Edward Burra, Barbara Hepworth, Ben Nicholson and Edward Wadsworth. In 1946 Moore was given his first overseas retrospective at the Museum of Modern Art in New York. In 1948 he won the International Sculpture Prize at the Venice Biennale. He had a retrospective exhibition at the Tate Gallery, London in 1951 and 1968. He was First prize winner at the Sao Paulo Biennale, Brazil in 1953.

Published as an album in deluxe and standard editions containing a text in English by the artist and twelve etchings CGM 196, 197, 199-201, 226-232, with CGM 225 on the cover. The deluxe edition has four additional etchings CGM 198, 233-235. Henry Moore’s fascination with the countryside and wildlife has contributed to the notion that he has strong roots in British art traditions, but his gently hopeful, redemptive perspective of mankind has also won him international acclaim. Moore’s technique was founded on direct cutting, and he discarded the modeling phase. Vogel, Carol (5 November 2012). "British Art World Figures Protest Possible Sale of a Henry Moore". ArtsBeat . Retrieved 7 January 2023. Information about Henry Moore Sheep Sketchbook – In February 1972, Henry Moore was based in his sculpture studios a lot to prepare for an upcoming exhibition. His studios were based in the countryside and he desired a place for peace and quiet so went into a room where he could view fields where sheep were grazed by a local farmer. He may have gotten this concept from Joan Miró, but it might also have come from the works of Moore’s colleague, Ben Nicholson. In this regard, Henry Moore’s artwork reveals how he merged apparently opposing currents such as Surrealism and Constructivism.

Search * (Objects) – Search – Henry Moore Artwork Catalogue". catalogue.henry-moore.org . Retrieved 5 August 2023. After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. [33] This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from St Matthew's Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures. [34] Later years [ edit ] Family Group (1950) bronze, Barclay School, Stevenage, Hertfordshire. Moore's first large-scale commission after the Second World War. Shahbanu Farah in Henry Moore's Gallery, Tehran, May 1971. copies of the standard edition numbered 16 to 80 and VIII to XV with CGM 196, 197, 199 to 201, 226 to 232 numbered 16/80 to 80/80 and VIII/XV to XV/XV Moore, in fact, cited multiple sources for the series that unfolded from this startling composition. In addition to the Wallace Collection, he recalled that his early interest in armour had been informed by the Victoria and Albert Museum, where he wandered at lunchtimes as a student. ₁ He also linked The Helmet’s origin to Wyndham Lewis ‘talking about the shell of a lobster covering the soft flesh inside’. The carapace protects a vulnerable interior, just as a mother shields her child:

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Feldman, Anita; Pinet, Hélène; Moore, Mary; Blanchetière, François (2013). Moore Rodin. Perry Green: The Henry Moore Foundation. ISBN 978-0-906909-31-7. After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the lost wax technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body. Henry Spencer Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi- abstract monumental bronze sculptures which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper. Reclining Figure (1957 – 1958) by Henry More, located at Yorkshire Sculpture Park in the United Kingdom; David Sands / Reclining Figure at Yorkshire Sculpture Park Jones, Ann (2007). "Geometry of Fear: Works from the Arts Council Collection" (PDF) (exhibition leaflet). London: Southbank Centre. Archived from the original (PDF) on 30 June 2015 . Retrieved 6 May 2017.