Henry Moore Artwork Catalogue
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0011197
Publisher: Royal Academy of Arts
Place Published: London
Year: 1988
Date & Collation: 20 mins.Colour.Sound.
Description: Produced by Triangle Two for the Royal Academy of Arts and made at the exhibition (See 0011076). Devised by David MITCHINSON and Mary Anne STEVENS, produced by Vincent JOYCE, directed by Henry PEPLOW. Funded by the Henry Moore Foundation and an award under the Business Sponsorship Incentive Scheme. Alan BOWNESS introduces the exhibition and comments on Head of the Virgin, 1922-1923 marble, Masks, and Reclining Figure, 1929 brown Hornton stone. At the end of the film Sir Alan describes the technical miracle of balance in Large Four Piece Reclining Figure, 1972-1973 bronze.
Susan COMPTON notes Moore's preoccupation with the human figure, his use of drawings, and the landscape elements in his work. She comments particularly on Recumbent Figure, 1938 green Hornton stone; Rocking Chair No. 2, 1950 bronze; Rocking Chair No. 3, 1950 bronze; Reclining Figure: Festival, 1951 plaster; Draped Seated Woman, 1957-1958 bronze; Knife Edge Two Piece, 1962-1965 bronze; Animal Form, 1969 travertine marble.
Julian ANDREWS describes Moore's War Drawings, their Renaissance references and use of drapery. He notes Moore's humanist impulse in Family Group, 1948-1949 bronze; Madonna and Child, 1943-1944 Hornton stone; and King and Queen, 1952-1953 bronze with its archaic dignity. War references recur in Falling Warrior, 1956-1957 bronze and Warrior with Shield, 1953-1954 bronze.
Malcolm WOODWARD describes Moore's use of Shells and other Natural forms in the conception and development of his sculpture; and shows Working Model for Mother and Child: Hood, 1982 bronze as an intermediary between maquettes and larger works.
Susan COMPTON notes Moore's preoccupation with the human figure, his use of drawings, and the landscape elements in his work. She comments particularly on Recumbent Figure, 1938 green Hornton stone; Rocking Chair No. 2, 1950 bronze; Rocking Chair No. 3, 1950 bronze; Reclining Figure: Festival, 1951 plaster; Draped Seated Woman, 1957-1958 bronze; Knife Edge Two Piece, 1962-1965 bronze; Animal Form, 1969 travertine marble.
Julian ANDREWS describes Moore's War Drawings, their Renaissance references and use of drapery. He notes Moore's humanist impulse in Family Group, 1948-1949 bronze; Madonna and Child, 1943-1944 Hornton stone; and King and Queen, 1952-1953 bronze with its archaic dignity. War references recur in Falling Warrior, 1956-1957 bronze and Warrior with Shield, 1953-1954 bronze.
Malcolm WOODWARD describes Moore's use of Shells and other Natural forms in the conception and development of his sculpture; and shows Working Model for Mother and Child: Hood, 1982 bronze as an intermediary between maquettes and larger works.