Search

0022564

Author/Editor: BRYANT Julius., DROTH Martina.

Publisher: Yale University Press

Place Published: New Haven and London

Year: 2012

Date & Collation: x.230pp.Illus.Biography.Bibliography.Index.Photography credits.

Description: Book issued in connection with exhibition of the same name at the Yale Center for British Art, 18 October - 30 December 2012. Numerous references to Moore throughout. Caro and the Critics: Expanding the Vocabulary of Sculpture. BRYANT writes on the relationship and influence of Moore from early visual criticism on Caro's life-drawing which Moore taught; through working as Moore's assistant for two years; and the critique of Greenberg and early British critics. 9 Moore taught Caro to see as a sculptor and enduring themes in relation to the human body: 'the composition of mass and space, tension and balance, open gestures and tentative points of contact'. 10 quotes by Moore in converstation with David Slyvester in 1951 and published in 1962 in Atlantic Monthly. Influence of vorticist Henri Gaudier-Brzeska on Moore and the need for "direct energy". Quotes Moore in 1934 "a work must first have a vitality of its own . . . not a decoration to life, but an expression of the significance of life, a stimulation to greater effect in living". Other influences include Moore's library, the example of Picasso and living in Hampstead. Greenberg writing on invading space through vectors, 'a quality that goes back to the vortiscist via Moore'. Illus of Caro with Moore at Much Hadam in 1952. 19 Herbert READ quoted on shift to 'assemblage' and 'linear' sculpture and move away from the surface qualities found in bronze and work of artists including Moore. 21 Caro's Midday sculpture resembles a reclining nude by Moore. Caro and the Materials of Sculpture. DROTH writes on the historic perspective of sculptors from traditional cast sculpture of Moore to "new-construction sculpture" of Caro and the generation to follow. 35 Moore's soft organic, anthropomorphic forms, and found objects early influence on Caro, and draws parallels between Moore rebelling against the 'South Kensington system' 37 Caro's rejection of clay, plaster and bronze and need to change his materials to get away from historic fine art traditions. 38-39 DROTH follows the lineage of art education and use of materials. Illus of display illustrating Moore's enlargement technique. 47 reference to human qualities in Caro's abstract work. Illus of a plate in an essay by Peter FULLER in Modern Painters 1: 3 (Autumn 1988), showing Three Piece Reclining Figure: Maquette No.4 1975 bronze, (LH 678) alongside Caro's Midday 1960. Of Acorns and Oaks, "Sons" and Fathers" essay by Robert STORR. 55-56 STORR writes on the relationship between modernist masters (Moore) and emerging New English sculptors (Caro) and Bruce Nauman. Illus of Bruce Nauman's Henry Moore Bound to Fail 1967 wax over plaster. 59 passing reference to Caro's severe assessment of Moore. 62-66 STORR writes of Caro's 'Mooresque' figures; the practice of the traditional academic training by a master; evidence of this influence. 61 illus of Moore's Maquette for Fallen Warrior 1956 bronze, (LH 404). 63 illus of Helmet Head No.3 1960 bronze, (LH 467). 64 illus of Seated Figure 1930 drawing (HMF 782). Early Life-drawings and Henry Moore. 83-91 show 16 drawings by Caro with Moore's annotations. 83 illus of Caro with Alan Ingham and an Italian sculptor building the foundry at Moore's studio. 217 Caro's bibliography notes 1951-1953 part-time assistant to Moore.