Henry Moore Artwork Catalogue
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0021703
Author/Editor: REA Julian
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2007
Date & Collation: 16.2 (2007) 89-91(no Moore illus)
Description: Part obituary, part essay text. Discusses the development of the Harlow Sculpture Collection, and the influence of Lady Gibberd upon it as Chairman of the Harlow Art Trust. Mentions of Moore works in the collection. No Moore illus.
0022109
Author/Editor: BEDFORD Christopher
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2008
Date & Collation: 17.2 (2008)5,9,23,37,39,51,75,89,102,116,134(14 illus)
Description: Eight page fold out leaflet and map of the work located in San Sebastián (Donosti). The exhibition tours Salamanca, Cadiz, Logrono, Valladolid. The exhibition was organised by the Henry Moore Foundation and Fundación Bancaria ‘la Caixa’. It forms part of Art on the Street, the La Caixa" Foundation programme for taking art to people outside the usual framework of museums and exhibition halls. It includes six sculptures curated by Sebastiano Barassi. Includes reference to and illus of Oval with Points 1968-1970 bronze (LH 596); Reclining Connected Forms 1969 bronze (LH 612); Large Standing Figure: Knife Edge 1976 bronze (LH 482a); Locking Piece 1963-64 bronze (LH 515); Reclining Figure 1982 bronze (LH 677a) and Two Piece Reclining Figure No. 2 1960 bronze (LH 458). Moore travelled to Spain in the summer of 1934 visiting the Altamira caves Toledo Madrid and Vic."
0019739
Author/Editor: PEARSON Christopher.
Publisher: Sculpture Journal
Place Published: London
Year: 2001
Date & Collation: 6 2001 89-99(4 illus).Bibliog.
Description: In Volume 6 of the journal published by the Public Monuments and Sculpture Association. By Visiting Assistant Professor of art and architecture at the University of Oregon. Barbara Hepworth's Single Form at the United Nations headquarters in New York, and Henry Moore's ITU.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble at the Unesco headquarters in Paris. The figures remain obstinately mute testifying to an unreconciled conflict between the modernist demands for subjective expression and an institutional need for a publicaly legible iconography". A largely historical and and politcal text with little about the sculptures themselves. Concludes that the works might be viewed as nostalgic reminders of a better world that never arrived."
0018271
Author/Editor: LAPP Axel.
Publisher: Sculpture Journal
Place Published: London
Year: 1998
Date & Collation: 2 1998 113-122(5 illus).Bibliog.
Description: In journal published by the Public Monuments and Sculpture Association. Mentions Moore as one of the members of the Central Committee set up by the Institute of Contemporary Arts. Quotes a 31 Jan 1952 Statement to Press by Henry Moore, beginning The subject or theme of the competition The Unknown Political Prisoner is one of universal interest and we intend to leave no stone unturned to make it a truly world wide competition".
The competition was perceived as a disaster. Reg Butler's winning maquette was destroyed by a visitor to the Tate Gallery. No monument was ever erected. (For preliminary exhibition and contemporary details see 0015949. For report of 31 Jan 1952 press conference see 0008055. For 31 Jan 1952 taped interview with Moore see 0008119).
Henry Moore is also mmentioned briefly in the preceding article in Sculpture Journal 2 on pages 106-112 by Penelope Curtis entitled The Landscape of Barbara Hepworth."
The competition was perceived as a disaster. Reg Butler's winning maquette was destroyed by a visitor to the Tate Gallery. No monument was ever erected. (For preliminary exhibition and contemporary details see 0015949. For report of 31 Jan 1952 press conference see 0008055. For 31 Jan 1952 taped interview with Moore see 0008119).
Henry Moore is also mmentioned briefly in the preceding article in Sculpture Journal 2 on pages 106-112 by Penelope Curtis entitled The Landscape of Barbara Hepworth."
0019275
Author/Editor: HAll James.
Publisher: Sculpture Journal
Place Published: London
Year: 2000
Date & Collation: 4 2000 172-177(7 illus).Bibliog.
Description: The catalyst for American interest in British sculpture was the Moore retrospective at MOMA in 1946-1947 (See 0008703) and the influence of Alfred H. Barr and Herbert Read. Clement Greenberg, however, admired neither modern British sculpture, nor Herbert Read, nor Henry Moore. Instead he went on to champion Anthony Caro.
The Sculpture Journal is published by the Public Monuments and Sculpture Association, and part funded by the Henry Moore Foundation. There are one or two other passing mentions of Moore in this issue, including in the reviews:
193-195CULLEN Lucy. Edward Carter Preston in Liverpool.
208-210 MURAWSKA-MUTHESIUS Katarzyna. Polish Sculpture in the Nineteenth and Twentieth Centuries.
The Sculpture Journal is published by the Public Monuments and Sculpture Association, and part funded by the Henry Moore Foundation. There are one or two other passing mentions of Moore in this issue, including in the reviews:
193-195CULLEN Lucy. Edward Carter Preston in Liverpool.
208-210 MURAWSKA-MUTHESIUS Katarzyna. Polish Sculpture in the Nineteenth and Twentieth Centuries.
0022571
Author/Editor: MCDOWELL Felice
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2012
Date & Collation: 21.2 (2012) 169-181 (no Moore illus)
Description: The article starts with a quote from 'Vogue's Eye View Vogue June 1948 p37: "At the galleries the Season promises some delectable fare ... A new work by Henry Moore is an event. His group of Three Standing Figures can be seen at the great outdoor Sculpture Exhibition which the LCC has put on in Battersea Park"
174-175 refers to a portrait of Moore, photographed by Norman Parkinson, standing next to Three Standing Figures 1947 Darley Dale stone, (LH 268) in Battersea Park.
178 Robert BURSTOW writes about the park location as 'accessible to the middle and working class residents of south London" but not too distant from 'traditional artistic centres north of the river'; and evoking benign associations of the countryside. Moore's Three Standing Figures 1947 Darley Dale stone, (LH 268) is also refrenced in a Harper's Bazaar fashion spread 'White without a belmish' in July 1948, utilizing association with an aristocratic country house. Reference to Moore's sculpture at (Fiona) MacCarthy's stately home in the country. It was removed from an accessible urban space but not from 'a sense of nation and heritage'.
174-175 refers to a portrait of Moore, photographed by Norman Parkinson, standing next to Three Standing Figures 1947 Darley Dale stone, (LH 268) in Battersea Park.
178 Robert BURSTOW writes about the park location as 'accessible to the middle and working class residents of south London" but not too distant from 'traditional artistic centres north of the river'; and evoking benign associations of the countryside. Moore's Three Standing Figures 1947 Darley Dale stone, (LH 268) is also refrenced in a Harper's Bazaar fashion spread 'White without a belmish' in July 1948, utilizing association with an aristocratic country house. Reference to Moore's sculpture at (Fiona) MacCarthy's stately home in the country. It was removed from an accessible urban space but not from 'a sense of nation and heritage'.
0023216
Author/Editor: STOCKER Mark
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2007
Date & Collation: 16.1 (2007) 74-89(6 Moore illus)
Description: Article examining the cultural impact and significance of the exhibition. Includes John LUXFORD's explosive reaction to the exhibition; media coverage; Moore in Canada on 1955-56; The instrumental role of British Council; Cartoon illustrations depicting Moore's work by Sid Scales and Nevile Lodge. Reference to Lilian Somerville; Peter Tomory; Eric Westbrook; Clement Greenberg; Quentin Crewe; Ben Nicholson; Kenneth Clark; Peter Gregory; Heinz Roland; Gimpel Fils Gallery; Irina Moore; W.R. (Jim) Allen; Frank Dobson; Molly Macalister; Illus of 'Henry Moore: An Exhibition of Paintings and Drawings' installation at the Montreal Museum of Fine Arts 1955; newspaper cutting 'Crowds flocking to see scuptures' Auckland Star, 19 September 1956; Animal Head 1951 bronze (LH ); newspaper cutting 'Mr M. concedes a point to Marilyn', Auckland Star 20 September 1956; Sid Scales cartoon 'There's Moore in it that Meets the Eye' Otago Daily Times, 17 January 1957; Nevile Lodge cartoon 'The Devotee' Evening Post 27 February 1957.
0023136
Author/Editor: GARLAKE Margaret
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2007
Date & Collation: 16.2 (2007) 1002-103 (1 illus)
Description: Review of exhibition at the Imperial War Museum (14 September 2006 - 25 February 2007). Illus of Harlow Family Group 1954-55 Hadene stone (LH 364) on display at the Imperial War Museum.
0021585
Author/Editor: GARLAKE Margaret.
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2006
Date & Collation: 15.2 (2006) 269-272(3 Moore illus)
Description: Issue devoted to the subject of sculpture and photography. Article examines Moore's 'earliest known finished sculpture' in close detail. Includes illustration of Domenico Rosseli (attrib.) The Virgin and Child with Three Cherub Heads, 1450-98 from which Moore interpreted his own sculpture. The fact that Moore's Virgin was a student work no doubt also contributed to its neglect, since it could be sidelined as of minor significance in the narrative of the development of a modernist master. Three illus show Head of the Virgin 1922-23 marble, (LH 6). Photographs by Michael Phipps.
0023708
Author/Editor: DUNNETT James
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2006
Date & Collation: vol.15 issue 1. 121-123pp.illus.
Description:
Review of the exhibition Mary Spencer Watson Sculpture at Salisbury and South Wiltshire Museum and Salisbury Cathedral in 2004, and the accompanying exhibition catalogue. Brief mention of Moore. This volume of the Sculpture Journal also includes an index of names in volumes I-XIV; Moore is listed as having appeared in eight of the volumes.
0022593
Author/Editor: ROSE Pauline
Publisher: Sculpture Journal
Place Published: Liverpool
Year: 2008
Date & Collation: 17.1(2008) 52-69.Illus.Notes
Description: Essay on the importance of Dallas in the career of Moore and a case study of how the ambitions of civic, corporate and art worlds converge. Detailed reference to Moore's relationship with Raymond Nasher, who had commercial interests in NorthPark Center shopping mall, residential, industrial and office developments. He worked to merge the commercial with the civic, art and Moore's work had a role in this.
55 illus of Moore with Raymond and Patsy Nasher at Perry Green, September 1967, who later bought working model of Three Piece Sculpture: Vertebrae 1968 bronze, (LH 579), illus on 58.
Concerning artworks on display at NorthPark, Nasher commented "for many people, it is their first exposure to art ... more people will see great art within the shopping center in a month than will see it in our city museums within a year ... Exposure is crucial ... often you will see them come back, talk about a Henry Moore .... and learn something about the nature of art."
Reference to placement of Moore's work at I.M.Pei's new Dallas City Hall. 60 "In each case the work of art exists as a kind of antidote to the architecture ... The plastic forms of the Moore sculpture provide a formal counterpoint to the hard edges of the building, suggesting that the architect's desire was not solely to create harsh forms ... it says that the architect does respect humanist values and that he does seek to have them present in his work".
Detailed reference to the work and relationships between key people and institutions in Dallas including The City Manager, George Shrader; key Dallas art patron Mrs Margaret McDermott; businessman Fritz Hawn who comissioned Three Forms Vertebrae 1978 bronze, (LH 580a), in honour of his late wife. Illus on 63; architect I.M. Pei; Dallas mayor, Robert Folson; film maker Jim Murray who documented the journey of Three Forms Vertebrae 1978from England to Dallas; The Dallas Foundation; The Dallas Museum of Fine Arts; photographs taken by David Finn of public relations firm Ruder Finn; opposition to Moore's work by Councilor William Cothrum.
Also reference to the film Henry Moore: the Dallas Piece; the acquisition of Two-Piece Reclining Figure No. 3 1961 bronze, (LH 478) in 1965 by the Dallas Museum. Illus on 66.
55 illus of Moore with Raymond and Patsy Nasher at Perry Green, September 1967, who later bought working model of Three Piece Sculpture: Vertebrae 1968 bronze, (LH 579), illus on 58.
Concerning artworks on display at NorthPark, Nasher commented "for many people, it is their first exposure to art ... more people will see great art within the shopping center in a month than will see it in our city museums within a year ... Exposure is crucial ... often you will see them come back, talk about a Henry Moore .... and learn something about the nature of art."
Reference to placement of Moore's work at I.M.Pei's new Dallas City Hall. 60 "In each case the work of art exists as a kind of antidote to the architecture ... The plastic forms of the Moore sculpture provide a formal counterpoint to the hard edges of the building, suggesting that the architect's desire was not solely to create harsh forms ... it says that the architect does respect humanist values and that he does seek to have them present in his work".
Detailed reference to the work and relationships between key people and institutions in Dallas including The City Manager, George Shrader; key Dallas art patron Mrs Margaret McDermott; businessman Fritz Hawn who comissioned Three Forms Vertebrae 1978 bronze, (LH 580a), in honour of his late wife. Illus on 63; architect I.M. Pei; Dallas mayor, Robert Folson; film maker Jim Murray who documented the journey of Three Forms Vertebrae 1978from England to Dallas; The Dallas Foundation; The Dallas Museum of Fine Arts; photographs taken by David Finn of public relations firm Ruder Finn; opposition to Moore's work by Councilor William Cothrum.
Also reference to the film Henry Moore: the Dallas Piece; the acquisition of Two-Piece Reclining Figure No. 3 1961 bronze, (LH 478) in 1965 by the Dallas Museum. Illus on 66.
0024069
Author/Editor: WOOD Jon
Publisher: Sculpture Journal
Place Published: London
Year: 2003
Date & Collation: vol.10. pp.68-82. illus.
Description:
Article on the sculpture of Gudea, ruler of the ancient city state of Lagash, which is now in the collection of the British Museum, and its inflence on avant-garde artists in the 1930s. Mentions of Moore throughout, along with Leon Underwood's drawing classes, The Island, Moore's opinion on Sumerian sculpture, the exhibition Sculpture Considered Apart from Time and Place, Moore's opinions on the British Museum's restoration of Gudea, half-figure sculptures by Moore from the early 1930s, Girl 1931 ancaster stone, Henry Moore at the British Museum, Mother and Child 1931, photographs of Moore for Herbert Read's 1934 monograph and the book Unit One. Illus. of Mother and Child 1931 (LH 100 and LH 121) and Girl 1931 (LH 109), and Thea Struve's photograph of Moore's hands.
See also 0024070, a review of London's War and Sculpting the 20th Century, in the same volume.
0024070
Author/Editor: HYMAN James
Publisher: Sculpture Journal
Place Published: London
Year: 2003
Date & Collation: vol.x. pp.107-109.
Description:
Review of Henry Moore: Sculpting the 20th Century and London's War: The Shelter Drawings of Henry Moore. Hyman discusses the use of Moore's own photography in Sculpting the 20th Century, and draws comparison to Bill Brandt's "celebrated black and white photographs of nudes and stones". Hyman praises Julian Andrews' text for London's War, but feels it is let down by the quality of the images.
See also: 0024069, in the same volume.
0024071
Author/Editor: WRIGHT Barnaby
Publisher: Sculpture Journal
Place Published: London
Year: 2004
Date & Collation: vol.11. pp.100-104.
Description: Short article on reassessing the legacy of Barbara Hepworth, published in the year of her centenary. Various mentions of Moore as one of the artists who, alongside Ben Nicholson and Naum Gabo, have tended to overshadow Hepworth. Mention of Herbert Read's championing of Moore.
0024073
Author/Editor: CAUSEY Andrew
Publisher: Sculpture Journal
Place Published: London
Year: 2004
Date & Collation: vol.11. pp.110-112
Description:
Review of Penelope Curtis' two-volume Sculpture in the Twentieth Century. Mention of Moore as an example of the "extraordinary richness of British sculpture". Mention of Anthony Caro's November 1960 article in the Observer criticising Moore.
See also 0024071 and 0024072, also in this volume.
0024072
Author/Editor: LEWIS Adrian
Publisher: Sculpture Journal
Place Published: London
Year: 2004
Date & Collation: vol.11. 112-114pp.
Description: Review of Alan Wilkinson's edition of Henry Moore: Writings and Conversations. Notes that it is structured after Philip James' 1966 book on the same topic. Discusses Moore's use of writings and interviews to put forward a particular narrative about his own life and art.