Henry Moore Artwork Catalogue
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0019127
Publisher: Art Gallery of Ontario
Place Published: Toronto
Year: 1980
Date & Collation: 45mins.Sound.
Description: Henry Moore Foundation library audio cassette dubbed from AGO tape 15". Recorded in Hoglands about 1980. Conversation between Alan G. Wilkinson and Henry Moore on his gift of original plasters to the Art Gallery of Ontario. The sculptor comments on some individual pieces and on his work in general.
How Moore worked in plaster sometimes going back to the piece much later and applying water to it. This cannot be done with clay which hardens and cracks when left. Most originals were destroyed so that editions were limited. Idea of donation came after Victoria and Albert Museum head of sculpture took some plasters and guaranteed that no further casts would be made from them. The Tate Gallery was no able to find room so they were offered to Toronto originally through Mayor Philip Givens.
Henry Moore explained his preference for overhead lighting for sculpture. He stopped using alabaster as people liked the material rather than the sculpture. Cycladic works gave him the idea of opening the form of his carvings. Moore also commented on the titling of works the creative process involving maquettes rather than drawings the use of string on Reclining Figure: Festival 1951 plaster and the importance of heads and their size in relation to the body in his sculptures. Glenkiln and works in the open-air: sky nature and trees being more sympathetic backgrounds for the solid forms of his sculpture than are the hard lines of buildings. The three-dimensionality of sculpture and the importance of space in the Divided Figures. Natural objects and how the idea for Working Model for Locking Piece 1962 plaster came from two pebbles which somehow locked together."
How Moore worked in plaster sometimes going back to the piece much later and applying water to it. This cannot be done with clay which hardens and cracks when left. Most originals were destroyed so that editions were limited. Idea of donation came after Victoria and Albert Museum head of sculpture took some plasters and guaranteed that no further casts would be made from them. The Tate Gallery was no able to find room so they were offered to Toronto originally through Mayor Philip Givens.
Henry Moore explained his preference for overhead lighting for sculpture. He stopped using alabaster as people liked the material rather than the sculpture. Cycladic works gave him the idea of opening the form of his carvings. Moore also commented on the titling of works the creative process involving maquettes rather than drawings the use of string on Reclining Figure: Festival 1951 plaster and the importance of heads and their size in relation to the body in his sculptures. Glenkiln and works in the open-air: sky nature and trees being more sympathetic backgrounds for the solid forms of his sculpture than are the hard lines of buildings. The three-dimensionality of sculpture and the importance of space in the Divided Figures. Natural objects and how the idea for Working Model for Locking Piece 1962 plaster came from two pebbles which somehow locked together."
0010104
Publisher: Archives of American Art
Place Published: Washington, D.C.
Year: 1980
Date & Collation: Microfilm.
Description: Part of Reel 1756. 'Owned and filmed by the Archives of American Art, Smithsonian Institution. Gift of Wayne Andersen, Boston, Massachusetts, October 5, 1979.' Includes seven typed letters from Moore to Andersen, dating between 27 June 1975 and 8 January 1976, all dealing with the purchase by M.I.T. of Three Piece Reclining Figure: Draped, 1975 bronze.
0002299
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1980
Date & Collation: .. min.Colour.Sound.
V114
Description: 2000 years of tapestry from Ancient Egypt to Henry Moore" written and presented by Edwin MULLINS. Producer Anna JACKSON. Includes about eight minutes of Henry MOORE and Eva-Louise SVENSSON. Moore is seen inspecting tapestries at the Victoria and Albert Museum exhibition (See 0002199) noting his pleasure at the interpretation of his work. Weavers are seen at work at West Dean from Moore's small drawings and Eva-Louise Svensson explains how the weaver makes minute-by-minute decisions on colour and interpretation and how hours of painstaking work are involved. Moore compares the Tapestries with his Drawings and concludes that the tapestries in fact have more modelling and solidity than the drawings on paper. "I'm glad it's not a copy this to me is the main thing.""
0002297
Publisher: Educational Broadcasting Corp.
Place Published: U.S.A.
Year: 1980
Date & Collation: 60 min.Colour.Sound.Written, produced and directed by Robert M. FRESCO.
Description: A production of R. and F. Productions Inc. Sponsored by Gould Inc. Music by Charles Gross. Moore is filmed in Forte dei Marmi; and at Much Hadham, in the grounds and studios, over a two-year period. He is seen with Drawings and Sculpture and comments on Commissions, artistic expression, vision of artists in old age, size of art works, trees, etc. He is also filmed at Noack Foundry in Berlin and briefly in Chicago attending a December 1978 Art Institute of Chicago meal. There are views of spectators in Paris at the Orangerie and Tuileries Gardens exhibition in 1977 (See 0003082). At Much Hadham, variously in Summer and in Winter snows, Moore is seen at work, producing the Cézanne Bathers figures. The building for the Henry Moore Foundation is seen being constructed and Moore comments on the future plans.
0002300
Publisher: Swinburne Film and T.V. School
Place Published: Melbourne
Year: 1980
Date & Collation: 12 mins.Colour.Music.
Description: Modern dance depicting two women climbing mountain to music, with abstract set and projected backdrop of Draped Seated Woman, 1957-1958 bronze mostly in close-up. Produced and directed by Lois ELLIS. Dancers: Christina Cullen, Lin Kan, Jim McLaine. Choreography: Margaret Barr. Photography: Kevin Anderson. Music: Richard Zatorski.
0002376
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1980
Date & Collation: 4 mins.Sound recording.
Description: Extract from Radio 4 arts programme, recorded 3 November 1980 broadcast 5 November 1980. Colin FORD interviews Henry MOORE on Jacob Epstein. Moore outlines Epstein's encouragement and patronage in purchasing sculpture and drawings, writing foreword to Leicester Galleries catalogue (See 0009327). Epstein took criticism from uninformed public, and paved way for younger artists. Moore preferred male busts to female portraits by Epstein, and noted Epstein's appreciation of Rembrandt and other humanists.
0002375
Publisher: HMF library copy
Place Published: Much Hadham
Year: 1980
Date & Collation: 22 minutes.Sound recording.
Description: Moore in conversation at Much Hadham with 13-year-old Castleford schoolboy David Hetherington, who acted in the film Henry Moore: Recollections of a Yorkshire childhood (See 0001895). Recalls his own schooldays, Yorkshire dialect, childhood games, etc. Discusses briefly how ideas from maquettes are translated into large works, importance of titles of sculpture in describing work. Moore dedicates a book to David.
0002296
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1980
Date & Collation: 3 min extract.Colour.Sound.
Description: Joan Bakewell with sculpture on Moore's estate explaining profits for the country from art in terms of employment, tourism, etc. Moore has paid the Government more in income tax than the funding of the British Council Visual Arts Division. In a one-minute interview Moore suggests that the artist does not begin with the idea of making money, the purpose of art is to enable people to enjoy and appreciate life more.
0010255
Publisher: R. and F. Productions Inc.
Place Published: U.S.A.
Year: 1980
Date & Collation: 20 mins.Colour.Sound.
Description: A film by Robert M. FRESCO. Circulated by the American Federation of Arts film program. Made possible by a grant from Gould Inc. Music by Charles Gross. Moore is seen working on an etching plate. He explains the fine line involved in etching, and the difference from drawing in that it is possible to go back to an earlier plate after alterations if the changes are unsatisfactory. Looking through Elephant Skull: original etchings by Henry Moore (See 0004697), Moore explains his approach to the Skull and his working methods. After producing direct views, he began to find much more complex forms, both massive and delicate. Views of the Elephant Skull and of the illustrations in 0004697. For the album see 0004721.
0002298
Publisher: R. and F. Productions Inc.
Place Published: U.S.A.
Year: 1980
Date & Collation: 14 min.Colour.Sound.V134
Description: A film by Robert M. FRESCO, made possible by a grant from Gould Inc. Kenneth Clark at home introduces Moore as the greatest sculptor alive. The artist is seen on his estate at Much Hadham, carving and superintending his assistants and workmen. There are brief scenes of the Paris 1977 exhibition at the Orangerie (See 0003082), of Noack Foundry in Berlin, and of Moore's speech at a Chicago dinner in December 1978 and at a press conference. Large Two Forms, 1966 and 1969 bronze is seen in situ at Rolling Meadows, Illinois. Part of this film was incorporated in R. and F. Productions/Gould Inc. 60 minute 1980 film Henry Moore (See 0002297).