Henry Moore Artwork Catalogue
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0006110
Author/Editor: FORMA Warren.
Publisher: Grossman
Place Published: New York
Year: 1964
Date & Collation: 124pp.Illus.
Description: Published in Canada by Musson Book Company (Toronto). Text of filmed and tape-recorded interviews with Henry Moore, Reg Butler, Barbara Hepworth, Lynn Chadwick, Kenneth Armitage. For film directed by Forma and entitled 5 British Sculptors Work and Talk see 0006095. For gramophone record entitled 5 British Sculptors Talk see 0010805.
51-73(16 illus) Henry Moore.
Photographs of Moore, the sculptures, and the grounds at Much Hadham accompany the interview text by Moore. A sculptor has to be a practical workman. Landscape and the Open Air are the main influences, particularly of Yorkshire. Form and shape are the prime concerns of the sculptor, with Natural objects like shells, bones and pebbles as starting points for new ideas. One of the things I would like to think my sculpture has is a force is a strength is a life a vitality from inside it so that you have a sense that the form is pressing from inside trying to burst or trying to give off the strength from inside itself..." Moore prefers carving to modelling because "sculpture should have a hardness". Initially he worked directly in a piece of stone or wood with the material suggesting the idea. Today Moore produces Maquettes "sketches in plaster" as a starting point from which he can visualise the larger finished work a monumental sense of scale can emanate from these small pieces."
51-73(16 illus) Henry Moore.
Photographs of Moore, the sculptures, and the grounds at Much Hadham accompany the interview text by Moore. A sculptor has to be a practical workman. Landscape and the Open Air are the main influences, particularly of Yorkshire. Form and shape are the prime concerns of the sculptor, with Natural objects like shells, bones and pebbles as starting points for new ideas. One of the things I would like to think my sculpture has is a force is a strength is a life a vitality from inside it so that you have a sense that the form is pressing from inside trying to burst or trying to give off the strength from inside itself..." Moore prefers carving to modelling because "sculpture should have a hardness". Initially he worked directly in a piece of stone or wood with the material suggesting the idea. Today Moore produces Maquettes "sketches in plaster" as a starting point from which he can visualise the larger finished work a monumental sense of scale can emanate from these small pieces."