Henry Moore Artwork Catalogue
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0003840
Author/Editor: WILKINSON Alan G.
Publisher: Courtauld Institute of Art
Place Published: London
Year: 1974
Date & Collation: 3 vols.
Description: Thesis submitted by Alan G. Wilkinson for the Ph.D. degree at the Courtauld Institute of Art, University of London, July 1974.
Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."
Vol. 1: iv.385pp.Bibliog.
Vol. 2: 158 plates.
Vol. 3: Plates 159-295.The purpose of this thesis is to examine Henry Moore's development as a draughtsman from 1921 to the mid 1950s. Incorporates statements by Henry MOORE both from published sources and from conversations with Alan G. Wilkinson.
1-27 Life Drawings.
(Detailed account of Moore's early studies at Castleford Leeds School of Art and the Royal College of Art. Drawing theory. The earliest life drawings surviving date from 1921 the first term at the R.C.A. From 1927-1928 connections are seen between individual drawings and the Carvings. Portrait drawings and drawings made in Paris in the 1920s and 1930s are contrasted with more characteristic work. Many studies up to 1935 are of the artist's wife Irina).
28-41 Copies of works of art.
(Survey of Drawings mainly 1921-1926 of art from Paleolithic times to Cézanne indicating Moore's interest in the art of the past. Some copies made from the art work others from books).
42-247 Six Early Notebooks.
(Page by page detailed analysis of six notebooks dating between 1921 and 1928 concluding with the Sketchbook for the Relief on the Underground Building).
248-298 Drawings for Sculpture.
("Few great sculptors have left through their drawings such an extensive record of the genesis of so many sculptures." Works are traced to sketchbook drawings with commentary by Wilkinson and incorporating observations by Moore. Selected coverage: Mother and Child 1924-1925 Hornton stone; West Wind 1928-1929 Portland stone; Reclining Figure 1929 brown Hornton stone and influence of Chacmool; Composition 1931 blue Hornton stone and influence of Picasso; Composition 1932 dark African wood; Two Forms 1934 pynkado wood; Four Piece Composition: Reclining Figure 1934 Cumberland alabaster; Stringed Figures; Three Points 1939-1940 lead).
299-316 Wartime Drawings 1940-42.
(Moore's life at the outset of the war and how he came to produce the Shelter drawings. "It is as if we were within a sculpture deep in a Moore cavern inhabited by a race invented by him. The subterranean setting is timeless and anonymous; it is as if we have come unexpectedly upon the tomb of a mass burial. The bodies swathed like Egyptian mummies seem to belong more to the dead than the living." Discusses the Shelter Sketch Books and individual drawings. The Coal Mine Drawings of 1941-1942 completed Moore's activities as a war artist).
317-322 Pictorial Ideas and Settings for Sculpture.
(In Moore's words "an imaginative drawing in which the whole drawing came together as an idea which could not be translated into sculpture.").
323-385 Notes List of Plates Bibliography.
For 1984 Garland edition see 0000652. For 1969 M.A. Report see 0010062."
0003064
Author/Editor: WILKINSON Alan G.
Publisher: Tate Gallery
Place Published: London
Year: 1977
Date & Collation: .157pp.16 plates.(423 illus).Bibliog.Foreword by W.J. WITHROW and Norman READ.
Description: Published in collaboration with the Art Gallery of Ontario for the exhibition at the Art Gallery of Ontario (Toronto) 5 Nov-3 Dec 1977 and Tate Gallery (London) 28 June-28 Aug 1978. Distributed in France and Italy by Idea Books (Paris and Milan). The exhibition was also shown in four venues in Japan between 21 January and 31 May 1978. For details see 0003065. 261 Drawings 1921-1977 are reproduced as small black-and-white illustrations, with 16 colour plates. There are over 100 additional photographs depicting sculpture, family snapshots, source materials and the work of other artists. The short Foreword takes the form of acknowledgements, and the text by the exhibition organizer Alan Wilkinson, who selected the exhibits in collaboration with Henry Moore, is in the form of introductory essays and catalogue in thematic groupings:
Life Drawing.
(Moore's traditional academic training, and his awareness of importance of studying the human figure. Leeds School of Art, Royal College of Art, influences, portraiture, Paris 1920s, Drawing theory).
Copies of Works of Art.
(Moore's copies of works of art from Paleolithic times to Cézanne. Most of them date between 1921 and 1926).
Drawings 1921-1940.
(Mostly studies for sculpture. Few great sculptors have left through their drawings such a complete and extensive record of the genesis of their sculptural ideas." Modifications during the translation into sculpture influences of other artists and movements. Hampstead in the 1930s. Influence of Natural objects. Ideas for West Wind Relief 1928 drawing; Study for Leeds Reclining Figure 1928 drawing. Transformation drawings).
Wartime Drawings 1940-42.
(Moore in Kent at the outbreak of war; discovery of the shelterers at Belsize Park; Shelter Sketchbooks; working methods; move to Much Hadham; Drapery; colour; War Artists' Advisory Committee; influence on his subsequent work. "Among the supreme achievements of English graphic art." Coal Mine Drawings 1941-1942. Return to Castleford Wheldale Colliery. "More factual and documentary than the visionary shelter drawings" their latent influence noticed in 1970s prints of "dark forms emerging out of depth and blackness").
Drawings 1942-77.
(Return after war to studies for sculpture and subsequent dependence on maquettes. Renewal of interest in drawing for pleasure and towards printmaking Crowd Looking at a Tied-Up Object 1942 drawing).
Copies of Works of Art.
(Additional text analyzing copies from Moore's notebooks and discussing their original sources. British Museum books Italy 1920s Peter Paul Rubens Primitive art African art Oceanic art Mexican ancient art).
There is a commentary on each exhibit and Wilkinson's text incorporates statements by Henry MOORE both from published sources and from conversations with the artist.
References are made throughout this publication to Alan Wilkinson's The Moore Collection in the Art Gallery of Ontario (See 0002440)."
Life Drawing.
(Moore's traditional academic training, and his awareness of importance of studying the human figure. Leeds School of Art, Royal College of Art, influences, portraiture, Paris 1920s, Drawing theory).
Copies of Works of Art.
(Moore's copies of works of art from Paleolithic times to Cézanne. Most of them date between 1921 and 1926).
Drawings 1921-1940.
(Mostly studies for sculpture. Few great sculptors have left through their drawings such a complete and extensive record of the genesis of their sculptural ideas." Modifications during the translation into sculpture influences of other artists and movements. Hampstead in the 1930s. Influence of Natural objects. Ideas for West Wind Relief 1928 drawing; Study for Leeds Reclining Figure 1928 drawing. Transformation drawings).
Wartime Drawings 1940-42.
(Moore in Kent at the outbreak of war; discovery of the shelterers at Belsize Park; Shelter Sketchbooks; working methods; move to Much Hadham; Drapery; colour; War Artists' Advisory Committee; influence on his subsequent work. "Among the supreme achievements of English graphic art." Coal Mine Drawings 1941-1942. Return to Castleford Wheldale Colliery. "More factual and documentary than the visionary shelter drawings" their latent influence noticed in 1970s prints of "dark forms emerging out of depth and blackness").
Drawings 1942-77.
(Return after war to studies for sculpture and subsequent dependence on maquettes. Renewal of interest in drawing for pleasure and towards printmaking Crowd Looking at a Tied-Up Object 1942 drawing).
Copies of Works of Art.
(Additional text analyzing copies from Moore's notebooks and discussing their original sources. British Museum books Italy 1920s Peter Paul Rubens Primitive art African art Oceanic art Mexican ancient art).
There is a commentary on each exhibit and Wilkinson's text incorporates statements by Henry MOORE both from published sources and from conversations with the artist.
References are made throughout this publication to Alan Wilkinson's The Moore Collection in the Art Gallery of Ontario (See 0002440)."