Henry Moore Artwork Catalogue
Henry Moore on Sculpture: a collection of the sculptor's writings and spoken words; edited with an introduction by Philip JAMES.
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5-6 JAMES Philip. Acknowledgements.
(Acknowledges help of Henry Moore, individuals, publications and photographic sources).
7-8 Contents.
9-12 List of Illustrations.
(Includes Sculpture and Drawings by Moore, works by other artists, Natural objects).
13-25 JAMES Philip. Introduction.
("The literature on Henry Moore in the form of books, articles, introductions to exhibition catalogues, and transcriptions of interviews now amounts to a considerable bibliographical edifice." Surveys Moore's career and main works).
29-30 Boyhood.
(From Face to Face. See 0006953).
33-36 The Royal College of Art.
(Extracts from 1947 and 1961 published interviews).
37-43 Italy.
(Extracts from five publications 1947-1961).
44-46 The First Exhibition.
(Extract from 1961 published interview. For catalogue see 0009446).
47-48 Greece.
(Extracts from 1947 and 1960 published interviews).
49-51 Influences.
(Extracts from four publications 1947-1964).
52-54 A Working Day.
(Extracts from two interviews 1960-1961).
57-60 The Nature of Sculpture.
(Moore text from A.A. Journal, May 1930 (See 0009419) and extracts from 1960 and 1964 interviews).
62-68 The Sculptor Speaks.
(Moore's text from The Listener, 18 Aug 1937. For annotation see 0009196).
69-72 Unit One.
(Moore's text from the 1934 publication. For annotation see 0009258).
73 Circle.
(Moore's two statements from the 1937 publication. See 0009178).
74 Notes from a Sketchbook.
(Brief quotation from Heads, Figures and Ideas (See 0007315) on Bust of Woman, Egyptian 18th Dynasty in the Museo Archeologico, Florence).
76-83 Art and Life.
(Part of a discussion between V.S. Pritchett, Graham Sutherland, Sir Kenneth Clark an d Henry Moore, from The Listener, 13 Nov 1941. See 0009073).
84-90 The Sculptor in Modern Society.
(The 1952 U.N.E.S.C.O. address. For annotation see 0007724).
91-96 The Hidden Struggle.
(For annotation see the Observer, 24 Nov 1957: 0007392).
97-112 Sculpture in the Open Air.
(Most of the British Council 1955 talk appears here (See 0007723), together with 1951 and 1960 published extracts).
113-114 Truth to Material.
(Extracts from 1951 and 1957 published texts).
115-117 The Human Form.
(Extracts from five publications 1951-1964).
118-122 On Space and Form.
(From Horizon interview 1960: see 0006972).
123-130 Scale.
(From three publications 1960-1964).
131-134 Tactile Values.
(From Dialogues on Art: see 0006846).
135-136 Carving.
(Two short extracts from 1960 and 1961 published interviews).
137-140 Bronze Casting.
(From Horizon interview 1960: see 0006972).
141-144 New Ideas.
(From 1960 and 1964 published interviews).
146-151 Drawing.
(Extracts from four publications 1944-1963).
155-163 Primitive Art.
(Moore's text from The Listener, 24 April 1941 (cited incorrectly as 24 Aug 1941). See 0009071 for annotation).
164-168 Mesopotamian Art.
(Moore's text from The Listener, 5 June 1935. See 0009251 for annotation).
169-174 Tribal Sculpture.
(Moore's text from Man, July 1951. See 0008207 for annotation).
175-186 Michelangelo.
(The Michelangelo Vision interview from Sunday Times magazine, 16 Feb 1964. See 0006177 for annotation).
187-189 Renoir.
(1962 statement on La Danseuse au Tambourin and La Danseuse aux Castagnettes painted by Renoir in 1909 and acquired by the National Gallery in 1961. "And yet these rounded forms have a marvellous, supple rhythm...they are so monumental... They make me realise that Renoir was really a much greater sculptor than Maillol.").
190-193 Cézanne.
(Extracts from 1961 and 1962 interviews, mainly on Moore's Trois Baigneuses 1873-1877).
194-197 Jacob Epstein.
(Obituary notice by Moore from Sunday Times, 23 Aug 1959. For annotation see 0007110).
198-203 Modern Art.
(Extracts from 1961 and 1962 published interviews, mentioning Picasso, Giacometti and others).
204-205 Abstract Art.
(Short extracts from three publications).
209 Stringed Figures 1937-39.
(Brief extracts from two publications 1960-1962).
212-218 Shelter Drawings.
(Extracts from four publications 1946-1962; and from 11 Dec 1964 letter to E.D. Averill on use of wax crayons and watercolour).
220-223 Madonna and Child (Northampton) 1943-1944.
(Basically, Moore's statement from the pamphlet Church of S. Matthew, Northampton, 1893-1943/ See 0008961 for annotation).
224-229 Family Group 1945-49.
(From letter to Dorothy Miller, 31 Jan 1951 on the Family Group, 1948-1949 bronze at Barclay School after the Impington Project of Henry Morris failed to materialise. Quoted also from 1955 Sculpture in the Open Air (See 0007723).
230-238 Time-Life Screen and Reclining Figure 1952-53.
(Sculpture in the Open Air texts by Moore, from 1955 British Council (See 0007723) and L.C.C. 1954 exhibition catalogue (See 0007756)).
239-240 Draped Torso 1953.
(From 12 March 1954 letter to S.D. Cleveland, on the concept of the partial figure and "how Greek it looks").
241-246 King and Queen, 1952-53.
(In the main, the Art and Artist 1956 questionnaire: see 0007423).
247-249 Internal and External Forms, 1953-54.
(From 31 Oct 1955 letter to Gordon Smith, Albright-Knox Art Gallery, on Upright Internal/External Form, 1953-1954 elm wood and its carving: "wood is a natural and living material, unlike plaster or metal which are built up by man.").
250-252 Warrior with Shield, 1953-54.
(From a 15 January 1955 letter on the concept of the bronze from finding a pebble on the seashore, the emotional connection with thoughts about England during the war, and its Greek influence).
253-257 Upright Motives (including the Glenkiln Cross) 1955-56.
(Extracts from Battersea Park 1960 catalogue (See 0006894) and Drie Staande Motieven 1965: see 0005925)
258-263 Reclining Figure (Unesco) 1957-58.
(Extracts from 1960 and 1962 published interviews).
264-265 The Reclining Figure.
(Extracts on the Reclining Figure theme from three publications 1947-1961).
266-274 Two Piece Reclining Figures 1959 and 1960.
(Two Piece Reclining Figure No.1, 1959 bronze and Two Piece Reclining Figure No.2, 1960 bronze. Extracts from two 1962 publications, and a brief statement sent to the Tate Gallery. Includes photographs of Adel Rock, and Seurat's Le Bec du Hoc, 1885).
275-277 Relief No. 1, 1959.
(Extracts on the bronze from two 1962 publications "I've always done reliefs from time to time because I feel one can't just cut out an aspect of sculpture which has existed right through from palaeolithic times").
278-279 Standing Figure (Knife Edge), 1961.
(1965 statement on influence of Bones and classical figures).
281-287 Bibliography.
(63 entries, which are the sources for the texts printed in Henry Moore on Sculpture).
289-293 Index.
(Selection of entries not documented above: Brancusi, Chacmool, Chamba tribe, Chartres Cathedral, Drapery, Alice Gostick, Holes, W.J. Keswick, Landscape, Life Drawings, Leeds School of Art, Leonardo da Vinci, London, British Museum, Masaccio, Commissions, Coal Mine Drawings, Carrara, Rembrandt, Rodin, William Rothenstein, Michael Sadler, Cycladic art, Easter Island sculpture, Egyptian ancient sculpture, Gothic sculpture, Mexican sculpture, New Ireland sculpture, Oceanic sculpture, Renaissance sculpture, Romanesque sculpture, Sumerian sculpture, Stone, Truth to material, Watteau, Recumbent Figure, 1938 green Hornton stone; Memorial Figure, 1945-46 Hornton stone; Three Standing Figures, 1947-48 Darley Dale stone; Reclining Figure: Festival, 1951 bronze.
Texts cited here have also further appeared elsewhere, and Henry Moore on Sculpture has been the source for many quotations. One printing of this edition repeats the dust jacket text on the endpapers. A paperback edition was published by MacDonald in 1968 (See 0005026). For New York editions see 0005345 and 0004469. For Henry Moore über die Plastik (German) see 0004238. For Henry Moore A Szobrászatról (Hungarian) see 0000414.
Bib. Number0005627
Henry Moore on Sculpture: a collection of the sculptor's writings and spoken words; edited with an introduction by Philip JAMES.
PublisherMacdonald
Place PublishedLondon
Year1966
Date & Collation293pp(128 illus).Bibliog 281-287(63 entries).
LanguageEnglish
More InformationAnthology of statements, grouped into: Biographical, On Sculpture, Periods of Art and Individual Artists, Individual Works by Henry Moore. Sections may take the form of reprints of earlier texts, or an amalgam of published or unpublished statements. Sources are given and useful editorial notes are included.5-6 JAMES Philip. Acknowledgements.
(Acknowledges help of Henry Moore, individuals, publications and photographic sources).
7-8 Contents.
9-12 List of Illustrations.
(Includes Sculpture and Drawings by Moore, works by other artists, Natural objects).
13-25 JAMES Philip. Introduction.
("The literature on Henry Moore in the form of books, articles, introductions to exhibition catalogues, and transcriptions of interviews now amounts to a considerable bibliographical edifice." Surveys Moore's career and main works).
29-30 Boyhood.
(From Face to Face. See 0006953).
33-36 The Royal College of Art.
(Extracts from 1947 and 1961 published interviews).
37-43 Italy.
(Extracts from five publications 1947-1961).
44-46 The First Exhibition.
(Extract from 1961 published interview. For catalogue see 0009446).
47-48 Greece.
(Extracts from 1947 and 1960 published interviews).
49-51 Influences.
(Extracts from four publications 1947-1964).
52-54 A Working Day.
(Extracts from two interviews 1960-1961).
57-60 The Nature of Sculpture.
(Moore text from A.A. Journal, May 1930 (See 0009419) and extracts from 1960 and 1964 interviews).
62-68 The Sculptor Speaks.
(Moore's text from The Listener, 18 Aug 1937. For annotation see 0009196).
69-72 Unit One.
(Moore's text from the 1934 publication. For annotation see 0009258).
73 Circle.
(Moore's two statements from the 1937 publication. See 0009178).
74 Notes from a Sketchbook.
(Brief quotation from Heads, Figures and Ideas (See 0007315) on Bust of Woman, Egyptian 18th Dynasty in the Museo Archeologico, Florence).
76-83 Art and Life.
(Part of a discussion between V.S. Pritchett, Graham Sutherland, Sir Kenneth Clark an d Henry Moore, from The Listener, 13 Nov 1941. See 0009073).
84-90 The Sculptor in Modern Society.
(The 1952 U.N.E.S.C.O. address. For annotation see 0007724).
91-96 The Hidden Struggle.
(For annotation see the Observer, 24 Nov 1957: 0007392).
97-112 Sculpture in the Open Air.
(Most of the British Council 1955 talk appears here (See 0007723), together with 1951 and 1960 published extracts).
113-114 Truth to Material.
(Extracts from 1951 and 1957 published texts).
115-117 The Human Form.
(Extracts from five publications 1951-1964).
118-122 On Space and Form.
(From Horizon interview 1960: see 0006972).
123-130 Scale.
(From three publications 1960-1964).
131-134 Tactile Values.
(From Dialogues on Art: see 0006846).
135-136 Carving.
(Two short extracts from 1960 and 1961 published interviews).
137-140 Bronze Casting.
(From Horizon interview 1960: see 0006972).
141-144 New Ideas.
(From 1960 and 1964 published interviews).
146-151 Drawing.
(Extracts from four publications 1944-1963).
155-163 Primitive Art.
(Moore's text from The Listener, 24 April 1941 (cited incorrectly as 24 Aug 1941). See 0009071 for annotation).
164-168 Mesopotamian Art.
(Moore's text from The Listener, 5 June 1935. See 0009251 for annotation).
169-174 Tribal Sculpture.
(Moore's text from Man, July 1951. See 0008207 for annotation).
175-186 Michelangelo.
(The Michelangelo Vision interview from Sunday Times magazine, 16 Feb 1964. See 0006177 for annotation).
187-189 Renoir.
(1962 statement on La Danseuse au Tambourin and La Danseuse aux Castagnettes painted by Renoir in 1909 and acquired by the National Gallery in 1961. "And yet these rounded forms have a marvellous, supple rhythm...they are so monumental... They make me realise that Renoir was really a much greater sculptor than Maillol.").
190-193 Cézanne.
(Extracts from 1961 and 1962 interviews, mainly on Moore's Trois Baigneuses 1873-1877).
194-197 Jacob Epstein.
(Obituary notice by Moore from Sunday Times, 23 Aug 1959. For annotation see 0007110).
198-203 Modern Art.
(Extracts from 1961 and 1962 published interviews, mentioning Picasso, Giacometti and others).
204-205 Abstract Art.
(Short extracts from three publications).
209 Stringed Figures 1937-39.
(Brief extracts from two publications 1960-1962).
212-218 Shelter Drawings.
(Extracts from four publications 1946-1962; and from 11 Dec 1964 letter to E.D. Averill on use of wax crayons and watercolour).
220-223 Madonna and Child (Northampton) 1943-1944.
(Basically, Moore's statement from the pamphlet Church of S. Matthew, Northampton, 1893-1943/ See 0008961 for annotation).
224-229 Family Group 1945-49.
(From letter to Dorothy Miller, 31 Jan 1951 on the Family Group, 1948-1949 bronze at Barclay School after the Impington Project of Henry Morris failed to materialise. Quoted also from 1955 Sculpture in the Open Air (See 0007723).
230-238 Time-Life Screen and Reclining Figure 1952-53.
(Sculpture in the Open Air texts by Moore, from 1955 British Council (See 0007723) and L.C.C. 1954 exhibition catalogue (See 0007756)).
239-240 Draped Torso 1953.
(From 12 March 1954 letter to S.D. Cleveland, on the concept of the partial figure and "how Greek it looks").
241-246 King and Queen, 1952-53.
(In the main, the Art and Artist 1956 questionnaire: see 0007423).
247-249 Internal and External Forms, 1953-54.
(From 31 Oct 1955 letter to Gordon Smith, Albright-Knox Art Gallery, on Upright Internal/External Form, 1953-1954 elm wood and its carving: "wood is a natural and living material, unlike plaster or metal which are built up by man.").
250-252 Warrior with Shield, 1953-54.
(From a 15 January 1955 letter on the concept of the bronze from finding a pebble on the seashore, the emotional connection with thoughts about England during the war, and its Greek influence).
253-257 Upright Motives (including the Glenkiln Cross) 1955-56.
(Extracts from Battersea Park 1960 catalogue (See 0006894) and Drie Staande Motieven 1965: see 0005925)
258-263 Reclining Figure (Unesco) 1957-58.
(Extracts from 1960 and 1962 published interviews).
264-265 The Reclining Figure.
(Extracts on the Reclining Figure theme from three publications 1947-1961).
266-274 Two Piece Reclining Figures 1959 and 1960.
(Two Piece Reclining Figure No.1, 1959 bronze and Two Piece Reclining Figure No.2, 1960 bronze. Extracts from two 1962 publications, and a brief statement sent to the Tate Gallery. Includes photographs of Adel Rock, and Seurat's Le Bec du Hoc, 1885).
275-277 Relief No. 1, 1959.
(Extracts on the bronze from two 1962 publications "I've always done reliefs from time to time because I feel one can't just cut out an aspect of sculpture which has existed right through from palaeolithic times").
278-279 Standing Figure (Knife Edge), 1961.
(1965 statement on influence of Bones and classical figures).
281-287 Bibliography.
(63 entries, which are the sources for the texts printed in Henry Moore on Sculpture).
289-293 Index.
(Selection of entries not documented above: Brancusi, Chacmool, Chamba tribe, Chartres Cathedral, Drapery, Alice Gostick, Holes, W.J. Keswick, Landscape, Life Drawings, Leeds School of Art, Leonardo da Vinci, London, British Museum, Masaccio, Commissions, Coal Mine Drawings, Carrara, Rembrandt, Rodin, William Rothenstein, Michael Sadler, Cycladic art, Easter Island sculpture, Egyptian ancient sculpture, Gothic sculpture, Mexican sculpture, New Ireland sculpture, Oceanic sculpture, Renaissance sculpture, Romanesque sculpture, Sumerian sculpture, Stone, Truth to material, Watteau, Recumbent Figure, 1938 green Hornton stone; Memorial Figure, 1945-46 Hornton stone; Three Standing Figures, 1947-48 Darley Dale stone; Reclining Figure: Festival, 1951 bronze.
Texts cited here have also further appeared elsewhere, and Henry Moore on Sculpture has been the source for many quotations. One printing of this edition repeats the dust jacket text on the endpapers. A paperback edition was published by MacDonald in 1968 (See 0005026). For New York editions see 0005345 and 0004469. For Henry Moore über die Plastik (German) see 0004238. For Henry Moore A Szobrászatról (Hungarian) see 0000414.