Henry Moore Artwork Catalogue
Search
Skip to main content
Refine Results
10 results
for
*
0012200
Publisher: Art and Design
Place Published: London
Year: 1987
Date & Collation: (Dec) 3(11-12) 1-80(illus).
Description: 5-12 LIVINGSTONE Marco. New! improved!: varieties of British pop sculpture from the 1950s to the 1980s.
13-21(5 Moore illus) FULLER Peter. Modern sculpture: a contradiction in terms.
(Those who are commonly heralded as pioneers were, in fact, uncompromisingly anti-modern. The primitive is by definition un-Modern. Moore's works were an indictment of the concerns of our century, and an affirmation, in a peculiarly sculptural way, of other more enduring human values. Moore drew deeply upon those indigenous romantic traditions which evoked the similarities between the body of a woman, ranges of mountains and hills. Later works lost in immediacy of handling but gained in the terrifying power and scale).
22-28 BEAUMONT Mary Rose. The resilient subject: international contemporary sculpture.
29-32 WILLIAMS Glynn. A sculpture odyssey.
(Incidental mention of Moore).
33-61(4 Moore illus) CUMMING Hugh. British sculpture: a survey from Moore to Mach.
(post-war British sculpture has been dominated by the mature monumental works of Henry Moore. Moore succeeded in maintaining a consistently imaginative range of works that broke formal boundaries whilst dealing with grand human themes. He transcended initial public misunderstanding appealing eventually to the orthodox and experimental alike").
62-68 CORK Richard. Cragg Woodrow and Deacon: three individuals.
69-76(1 Moore illus) GRIFFITHS John. International sculpture since 1945.
(Short 'biographies' including ten lines on Moore).
77-80 PAOLOZZI Eduardo. Sculpture and the 20th century condition."
13-21(5 Moore illus) FULLER Peter. Modern sculpture: a contradiction in terms.
(Those who are commonly heralded as pioneers were, in fact, uncompromisingly anti-modern. The primitive is by definition un-Modern. Moore's works were an indictment of the concerns of our century, and an affirmation, in a peculiarly sculptural way, of other more enduring human values. Moore drew deeply upon those indigenous romantic traditions which evoked the similarities between the body of a woman, ranges of mountains and hills. Later works lost in immediacy of handling but gained in the terrifying power and scale).
22-28 BEAUMONT Mary Rose. The resilient subject: international contemporary sculpture.
29-32 WILLIAMS Glynn. A sculpture odyssey.
(Incidental mention of Moore).
33-61(4 Moore illus) CUMMING Hugh. British sculpture: a survey from Moore to Mach.
(post-war British sculpture has been dominated by the mature monumental works of Henry Moore. Moore succeeded in maintaining a consistently imaginative range of works that broke formal boundaries whilst dealing with grand human themes. He transcended initial public misunderstanding appealing eventually to the orthodox and experimental alike").
62-68 CORK Richard. Cragg Woodrow and Deacon: three individuals.
69-76(1 Moore illus) GRIFFITHS John. International sculpture since 1945.
(Short 'biographies' including ten lines on Moore).
77-80 PAOLOZZI Eduardo. Sculpture and the 20th century condition."
0012197
Publisher: Art and Design
Place Published: London
Year: 1987
Date & Collation: (Feb) 1-80(Illus).
Description: An Art and Design Profile. At time of R.A. exhibition (See 0000022).
5-11 TAYLOR John Russell. Modernism or splendid diversity.
12-15 LIVINGSTONE Marco. David Hockney's home-made prints.
16-36,45-48 CUMMING Hugh. Contemporary British artists.
(Mentions Moore's influence).
37-44 GRIFFITHS John. Modern movements in British art.
(Fold-out chart, with a photograph of one Moore bronze, and listing references to Moore).
49-54 CAUSEY Andrew. The modern in British art.
(Includes a photograph of Reclining Figure, 1930 ironstone and a mention of Moore's middle way between Abstraction and Surrealism).
55-66 FULLER Peter. British art: an alternative view.
(Includes photographs of four Moore sculptures. Discusses Moore as a major Modernist, the greatest British artist of the century, and a full blown English Romantic. Mentions Moore's influence by Picasso, his respect for Ruskin, and the landscape references in his work. In the late fifties Henry Moore's work had entered a new phase. His fragmented reclining figures of the earlier sixties are I believe among the greatest pieces he ever made... These works were perhaps the closest our secular age is likely to get to the great cathedrals").
67 PILKINGTON Godfrey. A personal perspective.
68-73 BEAUMONT Mary Rose. Beyond tradition: sculpture since Caro.
(Mentions Henry Moore).
74-78 SPENCER Charles. Contemporary art in Britain.
(Mentions Henry Moore).
79-80 ARWAS Victor. Allen Jones sculptures.
The back cover is a photograph of Reclining Figure 1969-1970 bronze."
5-11 TAYLOR John Russell. Modernism or splendid diversity.
12-15 LIVINGSTONE Marco. David Hockney's home-made prints.
16-36,45-48 CUMMING Hugh. Contemporary British artists.
(Mentions Moore's influence).
37-44 GRIFFITHS John. Modern movements in British art.
(Fold-out chart, with a photograph of one Moore bronze, and listing references to Moore).
49-54 CAUSEY Andrew. The modern in British art.
(Includes a photograph of Reclining Figure, 1930 ironstone and a mention of Moore's middle way between Abstraction and Surrealism).
55-66 FULLER Peter. British art: an alternative view.
(Includes photographs of four Moore sculptures. Discusses Moore as a major Modernist, the greatest British artist of the century, and a full blown English Romantic. Mentions Moore's influence by Picasso, his respect for Ruskin, and the landscape references in his work. In the late fifties Henry Moore's work had entered a new phase. His fragmented reclining figures of the earlier sixties are I believe among the greatest pieces he ever made... These works were perhaps the closest our secular age is likely to get to the great cathedrals").
67 PILKINGTON Godfrey. A personal perspective.
68-73 BEAUMONT Mary Rose. Beyond tradition: sculpture since Caro.
(Mentions Henry Moore).
74-78 SPENCER Charles. Contemporary art in Britain.
(Mentions Henry Moore).
79-80 ARWAS Victor. Allen Jones sculptures.
The back cover is a photograph of Reclining Figure 1969-1970 bronze."
0012199
Publisher: Art and Design
Place Published: London
Year: 1987
Date & Collation: 3-80(1 illus).Bibliog.
Description: Art and Design Profile 5 is published as part of Art and Design volume 3 9/10-1987."
5-18 CUMMING Hugh. The ascendancy of art: an interview with Robert Rosenblum.
19-25 FULLER Peter. The eastward march of civilisation?
(Illustrates four works by Henry Moore mentions his 1940s exhibitions in the U.S.A. and the criticism of his work by Clement Greenberg. Horizontality and "the qualities of Caro's work often owed more to Henry Moore than his singularly ignorant American protagonists realised").
26-31 BEAUMONT Mary Rose. Internationalism and tradition: British and American art since 1945.
(Includes a paragraph on Moore as the most famous British artist of the century and the first to transcend the boundaries of nationalism).
32-36 CAMERON Dan. New American art.
37-44 GRIFFITHS John. American art after 1945.
45-64 JENCKS Charles. Narrative Classicism.
65-73 WAGSTAFF Sheena. The Pop icon.
74-80 Interchanges: British and American painting 1945-87: symposium extracts."
5-18 CUMMING Hugh. The ascendancy of art: an interview with Robert Rosenblum.
19-25 FULLER Peter. The eastward march of civilisation?
(Illustrates four works by Henry Moore mentions his 1940s exhibitions in the U.S.A. and the criticism of his work by Clement Greenberg. Horizontality and "the qualities of Caro's work often owed more to Henry Moore than his singularly ignorant American protagonists realised").
26-31 BEAUMONT Mary Rose. Internationalism and tradition: British and American art since 1945.
(Includes a paragraph on Moore as the most famous British artist of the century and the first to transcend the boundaries of nationalism).
32-36 CAMERON Dan. New American art.
37-44 GRIFFITHS John. American art after 1945.
45-64 JENCKS Charles. Narrative Classicism.
65-73 WAGSTAFF Sheena. The Pop icon.
74-80 Interchanges: British and American painting 1945-87: symposium extracts."
0013536
Author/Editor: BURKE Joseph.
Publisher: Art and Design
Place Published: Sydney
Year: 1949
Date & Collation: 1 1949 32-35(1 Moore illus).
Description: Since the end of the war £140,000 has been spent by the Felton Bequest on the purchase of works of art for the National Gallery of Victoria. Alfred Felton died in 1904. Includes a photograph and passing mention of Family Group, 1947 bronze.
This issue of Art and Design also includes an article by Max DUPAIN on Douglas Glass: photographer, on pages 49-51, but without reference to his Moore photoportrait.
This issue of Art and Design also includes an article by Max DUPAIN on Douglas Glass: photographer, on pages 49-51, but without reference to his Moore photoportrait.
0012198
Author/Editor: GRIFFITHS John.
Publisher: Art and Design
Place Published: London
Year: 1987
Date & Collation: (June) 3(5-6) 25-32(1 Moore illus).
Description: Dictionary of terms, with a colour photograph of Reclining Figure, 1969-1970 bronze and mention under Abstract Surrealism: In Moore's work this tendency to abstract shapes is a profound exploration of the relations between man and the natural (organic) world." This in an issue Abstract Art and the Rediscovery of the Spiritual in which there is also a list-mention of Moore in the article on pages 66-72 by Peter FULLER entitled Beyond the veil stars and stripes?"
0012542
Author/Editor: CUMMING Hugh.
Publisher: Art and Design
Place Published: London
Year: 1988
Date & Collation: (Oct) 61-64(5 illus).
Description: At the time of the Royal Academy exhibition (See 0011076). His working life was so long he worked so hard and produced so much... He was an extraordinarily good craftsman." Landscape references working from drawings and maquettes truth to material. Moore's friendly personality human references in his work and his "repertoire of forms which he had built up over the years from a variety of sources". Popularity of the Shelter drawings influence of visit to Greece figures in landscapes. "He's had a lasting influence in stimulating interest.""
0012541
Publisher: Art and Design
Place Published: London
Year: 1988
Date & Collation: (Oct) 65-68(4 illus).
Description: Moore's text from 0000179.
0015616
Author/Editor: BAYNES Ken.
Publisher: Art and Design
Place Published: Deddington, Oxfordshire
Year: 1993
Date & Collation: (Sept) 1(1) 8-15(1 Moore illus).
Description: Reproduces a coal mine drawing. First issue of elementary art magazine for schools.
0008531
Publisher: Art and Design
Place Published: London
Year: 1948
Date & Collation: 1948(Jan) 2(3) 90.
Description: 21-line review of 0008703 in Books section. Free from technical jargon...sympathetic study." Central Institute of Art and Design publication cited as Bulletin of the Central Institute of Art and Design in some bibliographies."
0013535
Publisher: Art and Design
Place Published: Sydney
Year: 1949
Date & Collation: 1 1949 4-5(1 Moore illus).
Description: Feature on the 1948 exhibition (See 0008483) with a photograph of Recumbent Figure, 1938 green Hornton stone, with Three Standing Figures, 1947-1948 Darley Dale stone visible in the background.