Henry Moore Artwork Catalogue
Interview of Henry Moore by Alan Wilkinson.
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How Moore worked in plaster sometimes going back to the piece much later and applying water to it. This cannot be done with clay which hardens and cracks when left. Most originals were destroyed so that editions were limited. Idea of donation came after Victoria and Albert Museum head of sculpture took some plasters and guaranteed that no further casts would be made from them. The Tate Gallery was no able to find room so they were offered to Toronto originally through Mayor Philip Givens.
Henry Moore explained his preference for overhead lighting for sculpture. He stopped using alabaster as people liked the material rather than the sculpture. Cycladic works gave him the idea of opening the form of his carvings. Moore also commented on the titling of works the creative process involving maquettes rather than drawings the use of string on Reclining Figure: Festival 1951 plaster and the importance of heads and their size in relation to the body in his sculptures. Glenkiln and works in the open-air: sky nature and trees being more sympathetic backgrounds for the solid forms of his sculpture than are the hard lines of buildings. The three-dimensionality of sculpture and the importance of space in the Divided Figures. Natural objects and how the idea for Working Model for Locking Piece 1962 plaster came from two pebbles which somehow locked together."
Bib. Number0019127
Interview of Henry Moore by Alan Wilkinson.
PublisherArt Gallery of Ontario
Place PublishedToronto
Year1980
Date & Collation45mins.Sound.
LanguageEnglish
More InformationHenry Moore Foundation library audio cassette dubbed from AGO tape 15". Recorded in Hoglands about 1980. Conversation between Alan G. Wilkinson and Henry Moore on his gift of original plasters to the Art Gallery of Ontario. The sculptor comments on some individual pieces and on his work in general.How Moore worked in plaster sometimes going back to the piece much later and applying water to it. This cannot be done with clay which hardens and cracks when left. Most originals were destroyed so that editions were limited. Idea of donation came after Victoria and Albert Museum head of sculpture took some plasters and guaranteed that no further casts would be made from them. The Tate Gallery was no able to find room so they were offered to Toronto originally through Mayor Philip Givens.
Henry Moore explained his preference for overhead lighting for sculpture. He stopped using alabaster as people liked the material rather than the sculpture. Cycladic works gave him the idea of opening the form of his carvings. Moore also commented on the titling of works the creative process involving maquettes rather than drawings the use of string on Reclining Figure: Festival 1951 plaster and the importance of heads and their size in relation to the body in his sculptures. Glenkiln and works in the open-air: sky nature and trees being more sympathetic backgrounds for the solid forms of his sculpture than are the hard lines of buildings. The three-dimensionality of sculpture and the importance of space in the Divided Figures. Natural objects and how the idea for Working Model for Locking Piece 1962 plaster came from two pebbles which somehow locked together."