Henry Moore Artwork Catalogue
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0012746
Author/Editor: BERGER John.
Publisher: Pantheon Books
Place Published: New York
Year: 1991
Date & Collation: x,243pp.Illus.
Description: Collection of previously published essays.
154-161(1 illus) Infancy.
From the Guardian, 21 September 1989 (See 0013310). Photograph of Moore's hands. I want to try to liberate us from some of the stereotypes and critical clichés which surround Moore's work five years after his death... What is Henry Moore's art about?... The link is through the sense of touch... All his energy is directed to making marks on the paper in such a way that the body appears as graspable as tangible... We might term them pre-verbal...his work addresses some vague memory of an experience in which everything was erotic and nothing was identifiable... Throughout his life Moore searched backwards to find a way of expressing the child's experience of the mother's body... He was fascinated not by emotions but by touch: not by the deep unconscious but by surfaces and the tactile...he chose a classical language which maintained a continuity with Praxiteles or the Renaissance or the Benin bronzes... He was both an innovator...and a traditionalist... His figures however small all look like giants... Moore's work was uneven..."."
154-161(1 illus) Infancy.
From the Guardian, 21 September 1989 (See 0013310). Photograph of Moore's hands. I want to try to liberate us from some of the stereotypes and critical clichés which surround Moore's work five years after his death... What is Henry Moore's art about?... The link is through the sense of touch... All his energy is directed to making marks on the paper in such a way that the body appears as graspable as tangible... We might term them pre-verbal...his work addresses some vague memory of an experience in which everything was erotic and nothing was identifiable... Throughout his life Moore searched backwards to find a way of expressing the child's experience of the mother's body... He was fascinated not by emotions but by touch: not by the deep unconscious but by surfaces and the tactile...he chose a classical language which maintained a continuity with Praxiteles or the Renaissance or the Benin bronzes... He was both an innovator...and a traditionalist... His figures however small all look like giants... Moore's work was uneven..."."