Henry Moore Artwork Catalogue
British Artists in Italy 1920-1980.
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Rome and Abbey Scholars 1920-1980. 47 works by 23 artists.
48-49,etc (4 illus) Henry Moore: one Bronze 1962, two Drawings 1927-1929.
5-15 CURTIS Penelope. British modernist sculptors and Italy.
(Outlines the views of Moore, Hepworth and Skeaping on the modernist creed of direct carving and how it related to the academic requirements of the Prix de Rome in the 1920s. Quotes contemporary letters by Moore on his 1924 Royal College of Art Travelling Scholarship to Italy; and notes the impact of Masaccio and Michelangelo, and suggests that Moore repressed a natural appreciation of the Classic side of Italian art at that time in favour of the primitive, and of Donatello's modelling. Suggests also that the Reclining Figure motif initiated in Paris was confirmed through seeing Michelangelo's art in Italy. The contrasting approaches to sculpture in Moore's art at the time are discussed, and his Italian experience compared with that of Hepworth and Skeaping. The full impact of the humanism experienced in the 1920s may not have emerged until the war-time Shelter drawings).
16-23 POWERS Alan. The Rome Scholarship in decorative painting 1912-1939.
24-30 MILLS Roger. Rome scholarships after the war.
Bib. Number0000473
British Artists in Italy 1920-1980.
PublisherCanterbury College of Art
Place PublishedCanterbury
Year1985
Date & Collation(26 Sept-11 Oct).56pp.Illus.Biog.Bibliog.
LanguageEnglish
More InformationAn exhibition organised by Canterbury College of Art for the Canterbury Fringe Festival 1985, and touring Wales, Rome, Florence and Jarrow through 29 June 1986.Rome and Abbey Scholars 1920-1980. 47 works by 23 artists.
48-49,etc (4 illus) Henry Moore: one Bronze 1962, two Drawings 1927-1929.
5-15 CURTIS Penelope. British modernist sculptors and Italy.
(Outlines the views of Moore, Hepworth and Skeaping on the modernist creed of direct carving and how it related to the academic requirements of the Prix de Rome in the 1920s. Quotes contemporary letters by Moore on his 1924 Royal College of Art Travelling Scholarship to Italy; and notes the impact of Masaccio and Michelangelo, and suggests that Moore repressed a natural appreciation of the Classic side of Italian art at that time in favour of the primitive, and of Donatello's modelling. Suggests also that the Reclining Figure motif initiated in Paris was confirmed through seeing Michelangelo's art in Italy. The contrasting approaches to sculpture in Moore's art at the time are discussed, and his Italian experience compared with that of Hepworth and Skeaping. The full impact of the humanism experienced in the 1920s may not have emerged until the war-time Shelter drawings).
16-23 POWERS Alan. The Rome Scholarship in decorative painting 1912-1939.
24-30 MILLS Roger. Rome scholarships after the war.