Henry Moore Artwork Catalogue
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0004079
Publisher: New York Public Library
Place Published: New York
Year: 1973
Date & Collation: .64pp.Illus.12 plates.Text by Lola L.SZLADITS.
Description: Triennial report, and catalogue of an exhibition from the Henry W. and Albert A. Berg Collection of English and American Literature. 261 items by many writers and artists.
29,Plates 6-7(1 illus) Henry Moore: Two versions of a mask of death for W.H. Auden's The Dance of Death.
Commissioned by Rupert Doone in 1932, the mask worn by Doone was based on one of the two designs in the drawing Ideas for the Mask of The Dance of Death: Two Heads, 1934 drawing. The designs incorporate a sun-image and illustrate the concept of Death as the Sun-God, creator and destroyer. The Dance of Death was published in 1933. This 48 x 30 cm. drawing in ink and water colour was acquired by the New York Public Library from Doone's Library from the Group Theatre which was founded in London in 1932 by Rupert Doone and Robert Medley, and finally closed in 1956.
29,Plates 6-7(1 illus) Henry Moore: Two versions of a mask of death for W.H. Auden's The Dance of Death.
Commissioned by Rupert Doone in 1932, the mask worn by Doone was based on one of the two designs in the drawing Ideas for the Mask of The Dance of Death: Two Heads, 1934 drawing. The designs incorporate a sun-image and illustrate the concept of Death as the Sun-God, creator and destroyer. The Dance of Death was published in 1933. This 48 x 30 cm. drawing in ink and water colour was acquired by the New York Public Library from Doone's Library from the Group Theatre which was founded in London in 1932 by Rupert Doone and Robert Medley, and finally closed in 1956.
0023332
Author/Editor: SOLOMOM Gus, jr.
Publisher: New York Public Library
Place Published: New York
Year: 2016
Date & Collation: 25pp.Illus.
Description: Article on Solomon's Dance Company. 20 reference to Red Squalls and Red Squalls II performance in the Lincoln Center Out of Doors Festival, dancing on a stage set up on the plaza adjacent to the fountain. The location, with 'its stony, urban character was particularly unforgiving, mitigated only by amorphous Henry Moore sculpture in the reflecting pool and, near the entrance to the New York Public Library for the Performing Arts on the west side, the Alexander Calder stabile' . . . 'They alternated between doing simultaneous solos, warping the white, three-dimensional fabric of their costumes into bizarre silhouettes, and clumping together in tight group formations, which turned them into asymmetric masses echoing the Henry Moore sculpture in the pool'.