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pp.282-283: in Alexandra PARIGORIS' chapter on marble in the 20th and 21st century, discusses Moore's response to Constantin BRANCUSI's marble sculptures, and illustrates the marble Suckling Child (LH 96).

Exhibition catalogue to accompany Henry Moore: Vision.Creation.Obsession. Curated by: Sebastiano Barassi, Head of Collections and Exhibitions of the Henry Moore Foundation; Susanne Blocker, curator of the Kunstkammer Rau; Oliver Kornhoff, Director of the Arp Museum Bahnhof Rolandseck and Sarah-Lena Schuster, Curator of the Arp Collection. There is a joint introduction by Oliver Kornhoff and Godfrey Worsdale, Director Henry Moore Foundation that starts with a celebration of two birthdays: the Henry Moore Foundation's 40th and the Arp Musuem Bahnhof Rolandseck 10th. It is noted that the two artists were first presented together in 1936 and that from the mid 1970s there were a number of exchange visits and collaborations between Rolandseck and Much Hadham. As well as displaying works by Moore and Arp, the exhibition includes works by other artists that influenced Moore, from the Middle Ages through to the Renaissance, to 19th and 20th century French painters, including Corbet, Cezanne and Roualt. Moore's Large Two Forms 1969 (LH 556) is allusively referenced as being a signature piece of art for the German Federal Republic. The introduction is further structured around three sections, 'Vision: Freed from Moss and Weeds', 'Creation: Not Reproducing. Producing.', and 'Obsession: ''Everything I do I intend to make on a large scale.'' '. The museum's dimensions 'make it possible for the Henry Moore Foundation to experience some of his monumental large sculptures for the first time indoors'.

In his essay 'Two Large Forms as Suggestions of Power', Oliver Kornhoff presents the history and context of Large Two Forms, that has stood in front of the former Federal Chancellory in Bonn since 1979, and he asserts that 'No other work of art is so deeply etched into the Germans' pictorial memory.' There is an image of Moore with Chancellor Helmut Schmidt standing in front of the piece taken at the unveiling on 19 September 1979 and one of British Prime Minister, Margaret Thatcher with Federal Chancellor Helmut Kohl taken in front of the piece during a state visit on 16 September 1986.

In his essay 'Physical Size and Mental Scale: Henry Moore and the Monumental', Sebastiano Barassi presents Moore's keynote address at the International Conference of Artists organised by UNESCO in Venice in September 1952 as a framework for discussing Moore's approach and development as an artist in the context, not least, of his experience in, and response to, two world wars, primarily the Second World War. Moore's address focused on two main themes: 'the changing nature of patronage in the socio-political order that had been taking shape after the war; and the need for artists to develop languages to align their practice with the expectations of the new world.' Barassi discusses Moore's consideration of scale, open-air setting and landscape, his desire to create publicly accessible work and his success in creating sculpture with 'immediate universal appeal.'

Susanne Blocker's essay 'Vision. On Humanity in Art' begins with a quote from Moore 'It's only a great humanist like Giovanni Pisano, or Masaccio or Rembrandt or Cézanne who can express the tremendous power of goodness that exists somewhere in human nature.' The essay then proceeds to discuss some of Moore's influences including his childhood environs in Yorkshire, Chartres cathedral, Mexican art, the Italian renaissance, Michelangelo and Rodin. Blocker tells how Moore surrounded himself with the art and natural forms that inspired him whether in his student flat in Sydney Street, London or at his home Hoglands in Perry Green.

Sarah-Lena Schuster's essay 'Creation. Henry Moore and Hans Arp' focuses on the parallels between the two artists regarding their interest in and influence by existing forms in nature and the resultant biomorphic works. Schuster notes that in all of Moore's estimated 10,000 published expressions it is astonishing that there is no mention of Arp and that the only reference that can be found to Arp is in a letter dated 1966 in which Moore expresses his appreciation of Arp's work, an extract from which is quoted on page 121. They met only two or three times; in the 1930s and in 1958. As well as similarities, Schuster points to differences 'The one a dreamy poet, the other a purposeful artisan.'

Starting on page 126 and finishing on page 163 there is an exhibition view titled 'Rendez-vous des amis' showing images of Moore and Arp's works side by side, inviting comparisons and contrasts.

On page 188 there is short article by Helga Kuhn dedicated to Gustav Rau who bequeathed his wealth and most of his art collection to UNICEF; the core of his collection being exhibited at The Arp Museum Bahnhof Rolandseck. 

Volume to accompany the exhibition of 4 Moore works at the Nolde Foundation in Seebüll, Germany in 2017. Foreword by Christian Ring and Godfrey Worsdale, directors of the Nolde and Henry Moore Foundations respectively, followed by four chapters on Moore and his work. 

The first chapter is an essay by Sebastiano Barassi and Hannah Higham from the Henry Moore Foundation on "Ein naturverbundener Mensch: Henry Moore und die Natur" ("A natural person: Henry Moore and nature"). It discusses the influence of nature and the landscape on Moore's art. Moore's drawings explore nature, especially later on when Moore stopped using them as a way of developing ideas for sculpture; his later drawings include landscapes, animals, and trees. Moore's sculpture also influenced by nature. The reclining figure, one of his three great themes, often echoes the hills and valleys of the English landscape. Moore frequently used natural objects (his "library of natural forms") as the starting point for his maquettes, which might then have been worked up into large-scale works. One of Moore's most impressive natural objects that he collected was the elephant skull, which was the inspiration for a series of lithographs, along with sculptures and drawings. Also printed in Danish in 0023576.

Second chapter by Astrid Becker is called "Versuche tiefer Griffe ins übervolle All der Natur: Emil Nolde und Henry Moore". Discusses relationship between Moore and Nolde as two of the great figures in 20th century art; Moore as a groundbreaking sculptor and Nolde as an expressive painter. An expanded version of Becker's comments in 0023574. Sections on "Emil Nolde meets Henry Moore", "Mental landscapes", "Ideal values", "Dialogue of works", and "Timeless validity of essence". Also printed in Danish in 0023576.

Third chapter, "Henry Moore in Seebüll", discusses in turn each of the four works on display at the Nolde Foundation. It begins with a summary of Moore's work, which it divides into four phases: his early career, up to the 1929 Reclining Figure (LH 59), where Moore was influenced especially by the ancient Mexican Chacmool figures; the next two decades, influenced by the Surrealist movement and marked by a willingness to experiment; the 1940s and 1950s; and Moore's later work, from 1960 onwards. The next section is on the Reclining Figure as a recurring motif of Moore's work, making up around a quarter of the sculpture in the catalogue raisonné, and three of the four works displayed at Seebüll. Then each of Moore's four works displayed at Seebüll are treated individually: Working Model for Three Piece Reclining Figure: Draped, Working Model for Reclining Figure: Angles, Working Model for Draped Reclining Figure, and Working Model for Oval with Points.

Fourth chapter, "Henry Moore und Deutschland", by Hans-Joachim Throl, is about Moore's links with Germany more generally. Discusses the development of Moore's reputation as a sculptor of the world ("Bildhauer von Weltgeltung") following his first American retrospective at MoMA in 1946 and his winning the grand prize at the 1948 Venice Biennale. Discusses Moore's first German solo exhibition in 1950, which first showed at the Hamburg Kunsthalle and then at the Stadtischen Kunstsammlungen in Dusseldorf. Quotes Herbert Read's discussion of Moore's artistic career in the catalogue for the 1950 German exhibition. Moore's contributions to the documenta exhibitions, including documenta I (where King and Queen) was shown, discussed. Moore's major works on public display in Germany, including the Goslar Warrior and Large Two Forms treated briefly. Important exhibitions from 1971 (Henry Moore 1961-1971 in Hamburg) to 2017 (Henry Moore: Impuls für Europa in Münster) mentioned.

Finally, there is a timeline of Moore's life, from his birth in 1898 up to his death in 1986, discussing key points in Moore's life.