Henry Moore Artwork Catalogue
Mathematics + Art. A Cultural History
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Bib. Number0023313
Mathematics + Art. A Cultural History
Author/EditorGAMWELL Lynn
PublisherPrinceton University Press
Place PublishedNew York
Year2016
Date & Collationxviii.556pp.Illus.Notes.Acknowledgments.Credits.Index
LanguageEnglish
More InformationA cultural history of mathematics and art, from antiquity to present. Forward by Neil deGrasse Tyson. 215 reference to Moore in chapter titled Logic, in relation to Roger Fry, founder and contributor to The Burlington Magazine; British formalist artists of the 1920s; the Bloomsbury group; Barbara Hepworth. 217-218 section titled British Sculpture: Henry Moore and Barbara Hepworth. Reference to twentieth century sculptors drawing inspiration from the classical tradition, imitating nature as the Greeks had done; chance encounter of Moore and Fry in 1921; Fry's writing emphasising the emotional elements of design in nature. Moore quoted Roger Fry's Vision and Design was the most lucky discovery for me. I came on it by chance while looking for another book in Leeds Reference Library. In his essay 'Negro Sculpture' Fry stressed the 'three dimensional realisation' that characterised African art and its 'truth to material'. Moreover Fry opened the way to other books and to the realisation of the British Museum. That was really the beginning." (525 footnote: Moore interview by James Johnson Sweeney c. 1974). Illus of Reclining Figure 1935-36 Elmwood (LH 162). Reference to a vocabulary of organic forms as opposed to pure geometry; Plato; pre-Columbian and African sculpture; Cézanne; Leeds School of Art; Royal college of Art; Ben Nicholson; László Moholy-Nagy; Naum Gabo; Jean Arp; Constantin Brancusi; Theo van Doesburg; Herbert Read and art historian William WORRINGER. 223 Reference to German mathematician and philosopher Gottlob FREGE and British logician Bertrand Russell: 'Frege and Russell's ideal mathematical objects inspired sculptors Moore and Hepworth to disregard the transitory appearance of individuals and capture the underlying form of the human figure.' 270 in chapter titled Symmetry passing reference to Moore and Konkrete Kunst 1944 exhibition organised by Max Bill. 310-311 in chapter titled Utopian Visions after World War I reference to and illus of Stringed Mother and Child 1938 lead and string (LH 186f)"