Henry Moore Artwork Catalogue
The Drawings of Henry Moore.
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Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."
Bib. Number0003840
The Drawings of Henry Moore.
Author/EditorWILKINSON Alan G.
PublisherCourtauld Institute of Art
Place PublishedLondon
Year1974
Date & Collation3 vols.
LanguageEnglish
More InformationThesis submitted by Alan G. Wilkinson for the Ph.D. degree at the Courtauld Institute of Art, University of London, July 1974.Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."