Henry Moore Artwork Catalogue
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0007127
Author/Editor: MOORE Henry.
Publisher: Arte Vivo
Place Published: Valencia
Year: 1959
Date & Collation: (March-April)..(3 illus).Text in Spanish.
Description: Spanish text of Moore's speech. For other versions see 0007724.
0010754
Author/Editor: MOORE Henry.
Publisher: Kamena
Place Published: Poland
Year: 1959
Date & Collation: (30 Nov) 7-8(2 illus).Text in Polish.
Description: The Sculptor Speaks (See 0009196) in Polish, at the time of the Warsaw exhibition (See 0007059).
0009502
Author/Editor: MOORE Henry.
Publisher: Bijutsu Hihyo
Place Published: Japan
Year: 1953
Date & Collation: 14 1953(Feb) ..(2 illus).Text in Japanese.
Description: For discussion on this text see 0007977. For summary and details of English and other editions see 0007724.
Title romanized: Kindai shakai ni okeru chokokuka.
Title romanized: Kindai shakai ni okeru chokokuka.
0007685
Author/Editor: MOORE Henry.
Publisher: Aspects
Place Published: Brussels
Year: 1955
Date & Collation: 10 1955 14-16(2 illus).Text in French.
Description: A version of Some Notes on Space and Form in Sculpture, based on the texts in Eight European Artists (See 0007728) and XXe Siècle. See also 0010242.
0007812
Author/Editor: MOORE Henry.
Publisher: Arts and Architecture
Place Published: Los Angeles
Year: 1954
Date & Collation: (Sept) 11,30-31,33.
Description: Paper delivered at the U.N.E.S.C.O. International Conference of Artists, Venice. See 0007724 for description.
0007829
Author/Editor: MOORE Henry.
Publisher: Liturgical Arts
Place Published: New York
Year: 1954
Date & Collation: (Nov)..
Description: Reprinted from The Artist in Modern Society. See 0007724 for summary and details of other reprints.
0008093
Author/Editor: MOORE Henry.
Publisher: Art News
Place Published: New York
Year: 1952
Date & Collation: (Nov) 51(7) 24-25,64-65(1 illus).
Description: Address given at an International Conference of Artists organised by U.N.E.S.C.O. and held in Venice 22-28 September 1952. Reprinted from The Artist in Modern Society. See 0007724 for annotation and other reprints.
0007845
Author/Editor: MOORE Henry.
Publisher: Vingtième Siècle
Place Published: Paris
Year: 1954
Date & Collation: (4) 44-46(4 illus).
Description: Two short texts, previously published and dated 1937 and 1951, accompany illustrations of 1951-1952 Bronzes.
Journal title as printed: XXe Siècle.
Journal title as printed: XXe Siècle.
0001715
Author/Editor: MOORE Henry.
Publisher: Retina
Place Published: Milan
Year: 1982
Date & Collation: 1 1982 88-99(15 illus).Text in English and Italian.
Description: Moore is one of fourteen artists in this first issue of Retina, on the theme What is Art? In interview statements compiled by Patricia CORBETT Moore explains that recently he has been drawing and producing Maquettes, the latter being preferable to develop the multi-dimensional idea for sculpture. Sculptural form should be simple; not a copy of nature, but as complete as nature. Drawing is as important as writing or talking, and should play a more important part of general education. Outlines history of his career, and obsession with the female figure and themes of Reclining Figure, Mother and Child, and interior-exterior, each of which is an inexhaustible source of inspiration.
0008181
Author/Editor: MOORE Henry.
Publisher: Adelphi
Place Published: London
Year: 1951
Date & Collation: 27(4) 292-294.
Description: Ten brief statements on sculpture dated from 1930-1951, collected at the time of the Tate Gallery exhibition (See 0008139).
0008451
Author/Editor: MOORE Henry.
Publisher: Thema
Place Published: Munich
Year: 1949
Date & Collation: 5 40-41(1 illus).Text in German.
Description: German translation, by Brigitte MEIER-DENNINGHOFF, of Moore's statement from Unit One (See 0009258), together with a full-page photograph of Figure, 1933-1934 travertine marble.
0004602
Author/Editor: MOORE Henry.
Publisher: Bolaffiarte
Place Published: Turin
Year: 1971
Date & Collation: 6 1971(Jan) 10-13(4 illus).Text in Italian.
Description: Four illustrations and Henry Moore's Introduction, translated into Italian, from Michael Ayrton's Giovanni Pisano: sculptor (See 0004851).
0006994
Author/Editor: MOORE Henry.
Publisher: Three Arts Quarterly
Place Published: London
Year: 1960
Date & Collation: 1 1960(Spring) 3.
Description: Statement from Henry Moore on the importance of the small gallery in the art life of London, in magazine published by the Woodstock Gallery.
Journal title as printed: 3 Arts Quarterly.
Journal title as printed: 3 Arts Quarterly.
0004984
Author/Editor: MOORE Henry.
Publisher: Malahat Review
Place Published: Victoria, B.C.
Year: 1969
Date & Collation: 9 1969(Jan) 31-36(4 illus) 262-263.Biog.
Description: This issue of Malahat Review is a memorial symposium to Sir Herbert Read. The tribute by Henry Moore is from a B.B.C. Broadcast of 12 June 1968, the day of Herbert Read's death. The four Drawings are from 1936-1937.
Also published as a book by Methuen in 1970 under the title Herbert Read: a memorial symposium; edited by Robin Skelton (See 0004668). In a short tribute Moore remembers a friend of forty years standing, and points out the importance and impact of Read's books and thinking. There are passing mentions of Moore elsewhere:
14-26 HAMBURGER Michael. Herbert Read: instead of an elegy.
37-50 READ Herbert. The limits of permissiveness in art.
51-56 NICHOLSON Ben. A tribute.
187-191 PENROSE Roland. Herbert Read.
192-258 GERWING Howard. A checklist of the Herbert Read Archive in the McPherson Library of the University of Victoria.
Also published as a book by Methuen in 1970 under the title Herbert Read: a memorial symposium; edited by Robin Skelton (See 0004668). In a short tribute Moore remembers a friend of forty years standing, and points out the importance and impact of Read's books and thinking. There are passing mentions of Moore elsewhere:
14-26 HAMBURGER Michael. Herbert Read: instead of an elegy.
37-50 READ Herbert. The limits of permissiveness in art.
51-56 NICHOLSON Ben. A tribute.
187-191 PENROSE Roland. Herbert Read.
192-258 GERWING Howard. A checklist of the Herbert Read Archive in the McPherson Library of the University of Victoria.
0010654
Author/Editor: MOORE Henry.
Publisher: Geijutsu Shincho
Place Published: Tokyo
Year: 1960
Date & Collation: (Jan) 78-79(3 illus).Text in Japanese.
Description: For description see 0007593.
0002643
Author/Editor: MOORE Henry.
Publisher: Liminar
Place Published: Tenerife
Year: 1979
Date & Collation: (June-July) 23-27(6 illus).Text in Spanish.
Description: Reprinted, almost in full, from Henry Moore on Sculpture (See 0005627).
0006600
Author/Editor: MOORE Henry.
Publisher: Selection
Place Published: Winchester
Year: 1962
Date & Collation: (Autumn) 1(1) 12-15(4 illus).
Description: Henry Moore explains his belief that sculpture is an art of the Open Air. He has made most of his sculptures outside, because natural (rather than studio) light makes the sculptor produce forms which are complete and real like the nature around him. Most satisfying to Henry Moore are the works at Glenkiln, and he writes particularly about the King and Queen, 1952-1953 bronze. While being pleased with the growing number of outdoor sculpture exhibitions, the artist must continue to be vigilant about architectural ornament, as opposed to an integrated design.
0009196
Author/Editor: MOORE Henry.
Publisher: Listener
Place Published: London
Year: 1937
Date & Collation: (18 Aug) 338-340(2 illus).
Description: First in a series of articles in which artists discuss their own work. This is a concentrated and important text, presenting many points inherent to an understanding of Moore's work. It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.
Three dimensions.Appreciation of sculpture depends upon the ability to respond to form in three dimensions. This is what the sculptor must do. He must strive continually to think of and use form in its full spatial completeness. He gets the solid shape as it were inside his head he thinks of it whatever its size as if he were holding it completely enclosed in the hollow of his hand."
Brancusi.Since the Gothic European sculpture had become overgrown with moss weeds all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth and to make us once more shape-conscious."
Shells and pebbles.Although it is the human figure which interests me most deeply I have always paid great attention to natural forms such as bones shells pebbles etc... There are universal shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off."
Holes in sculpture.Pebbles show Nature's way of working stone. Some of the pebbles I pick up have holes right through them... A piece of stone can have a hole through it and not be weakened if the hole is of a studied size shape and direction... The first hole made through a piece of stone is a revelation. The hole connects one side to the other making it immediately more three-dimensional. A hole can itself have as much shape-meaning as solid mass."
Size and scale.There is a right physical size for every idea... There is a size to scale not to do with its actual physical size...but connected with vision. A carvi ng might be several times over life size and yet be petty and small in feeling and a small carving only a few inches in height can give the feeling of huge size and monumental grandeur because the vision behind it is big."
Drawing and sculpture.My drawings are done mainly as a help towards making sculpture...and as a way of sorting out ideas and developing them... And I sometimes just draw for its own enjoyment."
Abstraction and Surrealism.The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements... I am very much aware that associational psychological factors play a large part in sculpture."
Letters to the Listener about this article appeared in the issues for 25 August (Stanley Casson) 1 September (Gordon W. Brake) 8 September (Douglas Lord John Piper) 15 September (Kenneth W. Weston Bernard Reynolds) 22 September (Stanley Casson) 29 September (Alec Miller Thoreau MacDonald).
Stanley Casson refers to Moore as the leading sculptural representative of the Romantic movement because of the statements on nature with which he is not entirely in agreement. John Piper defends Moore's aesthetic position in relation to natural objects. Kenneth Weston sees the text as a good exposition of the creative process. Bernard Reynolds also defends Moore's comments on nature "Moore puts life into stone; his forms are biomorphic".
Reprinted in Henry Moore on Sculpture (See 0005627); The Painter's Object under the title Notes on Sculpture (See 0009169); and many other publications including foreign language translations (See Index)."
Three dimensions.Appreciation of sculpture depends upon the ability to respond to form in three dimensions. This is what the sculptor must do. He must strive continually to think of and use form in its full spatial completeness. He gets the solid shape as it were inside his head he thinks of it whatever its size as if he were holding it completely enclosed in the hollow of his hand."
Brancusi.Since the Gothic European sculpture had become overgrown with moss weeds all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth and to make us once more shape-conscious."
Shells and pebbles.Although it is the human figure which interests me most deeply I have always paid great attention to natural forms such as bones shells pebbles etc... There are universal shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off."
Holes in sculpture.Pebbles show Nature's way of working stone. Some of the pebbles I pick up have holes right through them... A piece of stone can have a hole through it and not be weakened if the hole is of a studied size shape and direction... The first hole made through a piece of stone is a revelation. The hole connects one side to the other making it immediately more three-dimensional. A hole can itself have as much shape-meaning as solid mass."
Size and scale.There is a right physical size for every idea... There is a size to scale not to do with its actual physical size...but connected with vision. A carvi ng might be several times over life size and yet be petty and small in feeling and a small carving only a few inches in height can give the feeling of huge size and monumental grandeur because the vision behind it is big."
Drawing and sculpture.My drawings are done mainly as a help towards making sculpture...and as a way of sorting out ideas and developing them... And I sometimes just draw for its own enjoyment."
Abstraction and Surrealism.The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements... I am very much aware that associational psychological factors play a large part in sculpture."
Letters to the Listener about this article appeared in the issues for 25 August (Stanley Casson) 1 September (Gordon W. Brake) 8 September (Douglas Lord John Piper) 15 September (Kenneth W. Weston Bernard Reynolds) 22 September (Stanley Casson) 29 September (Alec Miller Thoreau MacDonald).
Stanley Casson refers to Moore as the leading sculptural representative of the Romantic movement because of the statements on nature with which he is not entirely in agreement. John Piper defends Moore's aesthetic position in relation to natural objects. Kenneth Weston sees the text as a good exposition of the creative process. Bernard Reynolds also defends Moore's comments on nature "Moore puts life into stone; his forms are biomorphic".
Reprinted in Henry Moore on Sculpture (See 0005627); The Painter's Object under the title Notes on Sculpture (See 0009169); and many other publications including foreign language translations (See Index)."
0009251
Author/Editor: MOORE Henry.
Publisher: Listener
Place Published: London
Year: 1935
Date & Collation: (5 June) Cover,944-946(6 illus).
Description: Mr Henry Moore the well known sculptor reviews in this article a recently published book on Mesopotamian art": Christian Zervos. L'Art de la Mésopotamie (Cahiers d'Art/Zwemmer).We need to look at them as sculpture for once a good piece of sculpture has been produced even if it was made like the palaeolithic Venuses 20000 years ago it is real and a part of life here and now to those sensitive and open enough to feel and perceive it...For me Sumerian sculpture ranks with Early Greek Etruscan Ancient Mexican Fourth and Twelfth Dynasty Egyptian and Romanesque and early Gothic sculpture as the great sculpture of the world. It shows a richness of feeling for life and its wonder and mystery... It has a bigness and simplicity with no decorative trimmings...Their sculpture in the round is still and static no physical movement or action is attempted for one of the essential facts about a block of stone is its weight and immovability. But in their reliefs we find actual movement and action portrayed for work in relief is akin to drawing and it is an easy attribute of line to flow and move..."
Reprinted in Henry Moore on Sculpture (See 0005627). For German version see 0007039."
Reprinted in Henry Moore on Sculpture (See 0005627). For German version see 0007039."
0009071
Author/Editor: MOORE Henry.
Publisher: Listener
Place Published: London
Year: 1941
Date & Collation: (24 April) 598-599(2 illus).
Description: Article prompted by Leonard Adam's book Primitive Art (1940, Penguin Books), originally published at a time when the British Museum was closed, and books had to be a substitute for the actual art works. Reprinted in Henry Moore on Sculpture (See 0005627). In this article Moore describes 'primitive art'* as making a straightforward statement its primary concern is with the elemental and its simplicity comes from direct and strong feeling... Like beauty true simplicity is an unselfconscious virtue; it comes by the way and can never be an end in itself. The most striking quality common to all primitive art is its intense vitality. It is something made by people with a direct and immediate response to life. Sculpture and painting for them was not an activity of calculation or academism but a channel for expressing powerful beliefs hopes and fears." Moore argues that all art has its roots in the primitive and he traces primitivism through classical times into the Renaissance and the "steadily growing appreciation of primitive art among artists and the public today". Moore describes his visits to the British Museum and writes of the truth to material which he associated with certain works: "the artist shows an instinctive understanding of his material its right use and possibilities... Mexican sculpture as soon as I found it seemed to me true and right perhaps because I at once hit on similarities in it with some eleventh-century carvings I had seen as a boy on Yorkshire churches." Moore describes different works on display and points out that "a common world-language of form is apparent in them all; through the working of instinctive sculptural sensibility the same shapes and form relationship are used to express similar ideas at widely different places and periods in history... But all that is really needed is response to the carvings themselves which have a constant life of their own independent of whenever and however they came to be made and remain as full of sculptural meaning today to those open and sensitive enough to receive it as on the day they were finished".
Sometimes incorrectly cited as The Listener 24 August 1941. For German version see 0007039."
*Moore’s statement was part of a wider tendency in this period to group certain works from different times and places as ‘primitive art’, based primarily on perceived differences from approaches associated with academic art. Because it was often conflated with offensive assumptions about race and cultural difference, the term ‘primitive art’ is now rarely used directly.
Sometimes incorrectly cited as The Listener 24 August 1941. For German version see 0007039."
*Moore’s statement was part of a wider tendency in this period to group certain works from different times and places as ‘primitive art’, based primarily on perceived differences from approaches associated with academic art. Because it was often conflated with offensive assumptions about race and cultural difference, the term ‘primitive art’ is now rarely used directly.