Henry Moore Artwork Catalogue
Search
Skip to main content
Refine Results
Item Type
Year
Author/Editor*
Title
Publisher
5 results
for
*
0012178
Author/Editor: READ John.
Publisher: Spectator
Place Published: London
Year: 1986
Date & Collation: (6 Sept)..(1 illus).
Description: Personal recollections of visiting Much Hadham to finalise 0002400, and contacts with Moore through his father Herbert Read in the 1930s. Notes Moore's way with words" and how he was at ease in Italy. "Drawing was the last gift to leave him. When he could draw no more his life really was at an end."
Elsewhere in this issue of the Spectator Christopher Booker refers briefly to Moore's passing. In the 13 September 1986 issue Colette Clark the daughter of Kenneth Clark refutes John Read's claim that her parents were aristocrats. Michael Horowitz comments on Booker's statements in the 11 October 1986 issue."
Elsewhere in this issue of the Spectator Christopher Booker refers briefly to Moore's passing. In the 13 September 1986 issue Colette Clark the daughter of Kenneth Clark refutes John Read's claim that her parents were aristocrats. Michael Horowitz comments on Booker's statements in the 11 October 1986 issue."
0007286
Author/Editor: READ John.
Publisher: Painter and Sculptor
Place Published: London
Year: 1958
Date & Collation: (Summer) 1(2) 2-5(3 illus).
Description: The writer and director of a new BBC Television film on the work of Henry Moore discusses in retrospect the film he has made in relation to films on art in general." The notion of film and audience is explained; and Moore's collaboration and cooperation in the outline and working methods is detailed. The film (See 0007185) was shaped in terms of sound as well as the visual sequences. "The film on art must never become a substitute for the real thing. But for millions of people...it is surely one of the most effective ways of arousing an initial interest and understanding.""
0005558
Author/Editor: READ John.
Publisher: Radio Times
Place Published: London
Year: 1967
Date & Collation: (9 Nov) 3(1 illus).
Description: John Read introduces his film on Henry Moore screened on 11 Nov 1967 on B.B.C. 2. (See 0005603). Since making his first film on Moore in 1951 (See 0008230), and his second in 1958 (See 0007185), the sculptor has gained economic independence to produce his work on a monumental scale. Moore has the temperament that belongs to those artists whose greatest work comes in their later years Michelangelo was another.""
0001264
Author/Editor: READ John.
Publisher: Art and Artists
Place Published: London
Year: 1983
Date & Collation: (Aug) 5-8(3 Moore illus).
Description: In issue on Art and the Media, John Read writes of his television film-making, including his approach to art documentary films of Moore and other artists.
0002429
Author/Editor: READ John.
Publisher: Whizzard Press
Place Published: London
Year: 1979
Date & Collation: 141pp(80 illus).Biog.Bibliog.
Description: Published in association with André Deutsch Ltd.
Introduction to Moore's life and work in the publisher's Portrait of an Artist series, by film-maker who incorporates some statements by Moore from his films on the artist. The illustrations depict Moore's environment, Sculpture and Drawings, and personal photographs, particularly of the early years. The book is in eight chapters:
Profile.
(Outlines Moore's pre-eminence and vast output, and describes the artist's estate at Much Hadham. Reminisces on Moore's personality, patience, and sense of purpose).
The Early Days.
(The family background, the landscape, war and education).
Opening Eyes.
(Outlines the art scene by 1920, Moore at Leeds School of Art, the Royal College of Art and early travels and first exhibition. Moore's personal reaction to the concept of sculpture).
Drawing Conclusions.
(The importance of drawing from the early life studies, through the sketchbooks and war-time work, to contemporary studies and prints).
Being His Own Man.
(Hampstead in the 1930s, Surrealism, Abstraction and biomorphism).
Reclining Figures.
(This theme evolved by 1926, and over the years developed with influences like Natural forms, Landscape, and Primitive and Greek art. The figure evolves formally into two and more pieces, and takes on symbolic power).
Monuments for Our Time.
(Short survey of works in public sites from the Northampton Madonna and Child, 1943-1944 Hornton stone to huge bronzes of the later years).
Looking Back.
(A brief summing-up of Moore's struggle to achieve financial and public recognition, his current working day, and his contribution to art).
Introduction to Moore's life and work in the publisher's Portrait of an Artist series, by film-maker who incorporates some statements by Moore from his films on the artist. The illustrations depict Moore's environment, Sculpture and Drawings, and personal photographs, particularly of the early years. The book is in eight chapters:
Profile.
(Outlines Moore's pre-eminence and vast output, and describes the artist's estate at Much Hadham. Reminisces on Moore's personality, patience, and sense of purpose).
The Early Days.
(The family background, the landscape, war and education).
Opening Eyes.
(Outlines the art scene by 1920, Moore at Leeds School of Art, the Royal College of Art and early travels and first exhibition. Moore's personal reaction to the concept of sculpture).
Drawing Conclusions.
(The importance of drawing from the early life studies, through the sketchbooks and war-time work, to contemporary studies and prints).
Being His Own Man.
(Hampstead in the 1930s, Surrealism, Abstraction and biomorphism).
Reclining Figures.
(This theme evolved by 1926, and over the years developed with influences like Natural forms, Landscape, and Primitive and Greek art. The figure evolves formally into two and more pieces, and takes on symbolic power).
Monuments for Our Time.
(Short survey of works in public sites from the Northampton Madonna and Child, 1943-1944 Hornton stone to huge bronzes of the later years).
Looking Back.
(A brief summing-up of Moore's struggle to achieve financial and public recognition, his current working day, and his contribution to art).