Henry Moore Artwork Catalogue
Search
Skip to main content
Refine Results
Item Type
Year
Author/Editor*
Title
Publisher
4 results
for
*
0022665
Author/Editor: ROSE Pauline
Publisher: Getty
Place Published: Los Angeles
Year: 2011
Date & Collation: 13pp.Illus.Notes.
Description: Paper given at Anglo–American Exchange in Postwar Sculpture, 1945–1975 symposia at the Getty Center on April 25 and 26, 2008 (pages 32-44). Examines the significance or journalism and photography in shaping perceptions of Moore, from 1946. Numerous references to Moore throughout, including references to: Moore's personality; his "homely appearance"; the national stereotype and Moore as representative of Englishness; Moore's self-presentation; the complex history of relations between Britain and the USA; the role of fine art in the context of "Cold War anxieties"; support of the British Council; Moore's relationship with MoMA; Curt Valentin, Moore's New York dealer; Journalists Henry J. Seldis in the 1970s; James Hall; Donald Hall; the role of photography in defining readings of his work; John Hedgecoe's book Henry Spencer Moore 1968; images of Moore's home; the photographs of David Finn; Lord Clark of Civilisation; City Hall, Dallas and Raymond Nasher; John Russell.
ROSE writes that Moore was frequently quoted verbatim in newspaper and journal articles, and in this way was able to control the personal and artistic attributes ascribed to him. These and photographs of his home and studio in England are more revealing of how Moore was regarded in America than more academic texts. "The nature of his personality, his appearance, his living situation, and his steady and continuous creative output could vividly be conveyed through words and images, and the effect on his reception in America was profound". 33 illus of Irina and Moore at Hoglands Irina at work photograph by Hedgecoe 1968. 39 illus of Moore sweeping up after working on Reclining Figure 1959-64 elmwood (LH 452) photograph taken by Crispin Eurich, 1964. 40 two illus: Moore photographing a sculpture 1953 taken by Keystone Press; photograph by John Swope of Moore at Perry Green, April 1972. 41 two illus: black and white photograph by Hedgecoe; Photograph by Lidbrook of Moore in the small sitting room at Hoglands 1955. 42 illus from Ruder Finn Conference Room Quotations New York 1967.
0022991
Author/Editor: ROSE Pauline
Publisher: I.B. Tauris
Place Published: London. New York
Year: 2014
Date & Collation: xiv.258pp.Illus.Notes.Bibliography.Index
Description: ROSE explores the reasons for Moore's fame in America and the construction of his American persona, in ten chapters:
1 Introduction
2 Defining and Presenting Henry Moore
3 The Special Relationship and the Cold War
4 Trading Culture: Systems of Patronage
5 Looking Back - Looking Forwards
6 The Support Network
7 Displaying Civic Values: Sculpture and the City
8 Sculpture for the People
9 Good Public Relations: Sculpture and Business
10 The After-Life of Henry Moore
0022593
Author/Editor: ROSE Pauline
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2008
Date & Collation: 17.1(2008) 52-69.Illus.Notes
Description: Essay on the importance of Dallas in the career of Moore and a case study of how the ambitions of civic, corporate and art worlds converge. Detailed reference to Moore's relationship with Raymond Nasher, who had commercial interests in NorthPark Center shopping mall, residential, industrial and office developments. He worked to merge the commercial with the civic, art and Moore's work had a role in this.
55 illus of Moore with Raymond and Patsy Nasher at Perry Green, September 1967, who later bought working model of Three Piece Sculpture: Vertebrae 1968 bronze, (LH 579), illus on 58.
Concerning artworks on display at NorthPark, Nasher commented "for many people, it is their first exposure to art ... more people will see great art within the shopping center in a month than will see it in our city museums within a year ... Exposure is crucial ... often you will see them come back, talk about a Henry Moore .... and learn something about the nature of art."
Reference to placement of Moore's work at I.M.Pei's new Dallas City Hall. 60 "In each case the work of art exists as a kind of antidote to the architecture ... The plastic forms of the Moore sculpture provide a formal counterpoint to the hard edges of the building, suggesting that the architect's desire was not solely to create harsh forms ... it says that the architect does respect humanist values and that he does seek to have them present in his work".
Detailed reference to the work and relationships between key people and institutions in Dallas including The City Manager, George Shrader; key Dallas art patron Mrs Margaret McDermott; businessman Fritz Hawn who comissioned Three Forms Vertebrae 1978 bronze, (LH 580a), in honour of his late wife. Illus on 63; architect I.M. Pei; Dallas mayor, Robert Folson; film maker Jim Murray who documented the journey of Three Forms Vertebrae 1978from England to Dallas; The Dallas Foundation; The Dallas Museum of Fine Arts; photographs taken by David Finn of public relations firm Ruder Finn; opposition to Moore's work by Councilor William Cothrum.
Also reference to the film Henry Moore: the Dallas Piece; the acquisition of Two-Piece Reclining Figure No. 3 1961 bronze, (LH 478) in 1965 by the Dallas Museum. Illus on 66.
55 illus of Moore with Raymond and Patsy Nasher at Perry Green, September 1967, who later bought working model of Three Piece Sculpture: Vertebrae 1968 bronze, (LH 579), illus on 58.
Concerning artworks on display at NorthPark, Nasher commented "for many people, it is their first exposure to art ... more people will see great art within the shopping center in a month than will see it in our city museums within a year ... Exposure is crucial ... often you will see them come back, talk about a Henry Moore .... and learn something about the nature of art."
Reference to placement of Moore's work at I.M.Pei's new Dallas City Hall. 60 "In each case the work of art exists as a kind of antidote to the architecture ... The plastic forms of the Moore sculpture provide a formal counterpoint to the hard edges of the building, suggesting that the architect's desire was not solely to create harsh forms ... it says that the architect does respect humanist values and that he does seek to have them present in his work".
Detailed reference to the work and relationships between key people and institutions in Dallas including The City Manager, George Shrader; key Dallas art patron Mrs Margaret McDermott; businessman Fritz Hawn who comissioned Three Forms Vertebrae 1978 bronze, (LH 580a), in honour of his late wife. Illus on 63; architect I.M. Pei; Dallas mayor, Robert Folson; film maker Jim Murray who documented the journey of Three Forms Vertebrae 1978from England to Dallas; The Dallas Foundation; The Dallas Museum of Fine Arts; photographs taken by David Finn of public relations firm Ruder Finn; opposition to Moore's work by Councilor William Cothrum.
Also reference to the film Henry Moore: the Dallas Piece; the acquisition of Two-Piece Reclining Figure No. 3 1961 bronze, (LH 478) in 1965 by the Dallas Museum. Illus on 66.
0024122
Author/Editor: ROSE Pauline
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2020
Date & Collation: 300pp.illus.
Description: Monograph on British women sculptors. Mentions of Moore throughout, often in connection with Barbara HEPWORTH. A section on "narrating the artist and her studio" comments extensively on the reception of Hepworth's work, and how she was frequently viewed in relation to male artists, especially Moore. Mentions of the 1929 Reclining Figure (LH 59) and Family Group (LH 269).