Henry Moore Artwork Catalogue
Henry Moore: Late Large Forms
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Bib. Number0022619
Henry Moore: Late Large Forms
Author/EditorGagosian Gallery
PublisherGagosian Gallery
Place PublishedLondon
Year2012
Date & Collation(31 May-18 August 2012)181pp.Illus.List of works
LanguageEnglish
More InformationBook to accompany exhibition of the same title at the Britannia Street gallery, including: 4-16 Britannia Street installation - photographs of works in the gallery 7 Foreword by Richard CALVOCORESSI. Quote by Moore: "The sculpture which moves me most is full-blooded and self-supporting, fully in the round, that is, its components are completely realised and works as masses in opposition ... it is not perfectly symmetrical, it is static and it is strong and vital, giving out something of the energy and power of great mountains. It has a life of its own, independent of the object it represents". CALVOCORESSI contrasts Moore's preference that sculpture is "an art of the open air" with encountering the work in the confined space of the gallery. Reference to Moore's use of terms such as 'form-idea, 'shape meaning' and 'form experience.' 18-27 Late Large Forms essay by Anita FELDMAN on the last phase of Moore's career and realisation of late monumental works, which Moore described as "architectural contrasts of masses - weighty, powerful forms that could hold their own in any setting, whether in the fields of Perry Green or the streets of London, New York or Hong Kong". Reference to tendency for works to be non site specific; scale; Moore's process of working and photographing small maquettes against the sky to make them appear monumental; drawings depicting powerful sculptures against imaginary rocky landscapes; public sculpture including Wall Relief 1955 brick (LH 375); personal explorations of natural forms; work for the UNESCO headquarters and return to working with sketchbooks; relationship between figure and the landscape; inspiration for large abstract works. 29-83 The working process - photographic documentation 85-91 Two Piece Figure No.2 1960 - photographic reference to Two Piece Figure No.2 1960 bronze, (LH 458) 93-99 Seated Woman: Thin Neck 1961 - photographic reference to Seated Woman: Thin Neck 1961 bronze, (LH 472) 101-109 Large Two Forms 1966 - photographic reference to Large Two Forms 1966 bronze, (LH 556) 111-119 Three Piece Sculpture: Vertebrae 1968 - photographic reference to Three Piece Sculpture: Vertebrae 1968-9 bronze, (LH 580) 121-129 Reclining Connected Forms 1969 - photographic reference to Reclining Connected Forms 1969 bronze, (LH 612) 131-139 Large Four Piece Reclining Figure 1972-73 - photographic reference to Large Four Piece Reclining Figure 1972-73 bronze, (LH 629) 141-151 Large Spindle Piece 1974 - photographic reference to Large Spindle Piece 1974 bronze, (LH 593) 153-159 Reclining Figure: Hand 1979 - photographic reference to Reclining Figure: Hand 1979 bronze, (LH 709) 161-168 Two Piece Reclining Figure: Cut 1979-81 - photographic reference to Two Piece Reclining Figure: Cut 1979-81 bronze, (LH 758) 170-179 Moore's Later Sculpture: The space between Knuckles essay by Anne M. WAGNER. Focus on photographer's depiction of Moore and emphasis on his hands. Hands as subject. Moore's hired hands. 180 List of works