Henry Moore Artwork Catalogue
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Search over 24,000 publications on Henry Moore alongside invaluable exhibition catalogues, press coverage, film and audio recordings. Dating from 1914, almost all of these references to Moore are available in the Henry Moore Archive. Please contact us if you have any questions or wish to visit.
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0008799
Publisher: Falcon Films
Place Published: New York
Year: 1947
Date & Collation: 16 mins.Colour.Sound.
Description: AA Films Inc. presents a Falcon Films Production. Script and narration by James Johnson SWEENEY, with a commentary by the artist on his Shelter Sketch Book. Music by R. Vaughan Williams (Fantasia on a Theme by Thomas Tallis). Photography by Erica Anderson. Directed by James Johnson Sweeney. Over film of press coverage of the exhibition (See 0008703), Moore is introduced as a controversial figure who is actually a great living traditionalist". Film of visitors to the private view "a gala New York evening". Moore enters in a dinner jacket and is seen with his work and with dignitaries. The roots of his art are in nature and the human form. Sweeney provides an appreciation of Moore's art to film of individual works on display. Notes his truth to material and simplicity of form learned from Primitive art. Moore's sculptural form is outlined. Circular forms seen as natural to wood due to the cylindrical growth of the tree. Mentions the slightly translucent quality and the structural density of stone. Metal can be cast into shapes difficult to achieve in carving. Use of space is noted in Stringed Figures and Helmet Heads. Moore is filmed with his Shelter Sketch Book and both over film of War Drawings and directly into camera describes his discovery of the shelterers which he found "unbelievably moving" and how he returned night after night to watch the "huddled masses".
Sweeney notes a new quality in Moore's immediate post-war sculpture. The use of the human figure in the War Drawings recalled the dignity and monumentality of Masaccio's frescoes Moore had seen years before. Combined with the sculptural form he had established this led to a fuller fusion of primitive and human interests from which to set out on new explorations of form and expression."
Sweeney notes a new quality in Moore's immediate post-war sculpture. The use of the human figure in the War Drawings recalled the dignity and monumentality of Masaccio's frescoes Moore had seen years before. Combined with the sculptural form he had established this led to a fuller fusion of primitive and human interests from which to set out on new explorations of form and expression."