Henry Moore Artwork Catalogue
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0014829
Publisher: Central Office of Information
Place Published: London
Year: 1978
Date & Collation: 5 mins.Colour.Sound.Director Peter GREENAWAY.
Description: Producer Annabel OLIVIER-WRIGHT, Writer-Researcher Jenny LUCAS. Presenter Maggie PALMER. Sculpture at the Serpentine exhibition (See 0002718 and 0002719) to mixed public reactions. They should be placed in museums...one of the greatest and most interesting pollutors in the art world". Alan WILKINSON refers to Moore as one of the major sculptors alive today and comments on the use of assistants. Sculpture is also seen at Much Hadham where Henry MOORE comments on natural forms the change in the appreciation of sculpture over the years open air art in old age."
0021036
Author/Editor: CANNON-BROOKES Peter.
Publisher: City Museums and Art Gallery
Place Published: Birmingham
Year: 1978
Date & Collation: 144pp.Illus.
Description: Illustrated commentary on the life and work of Michael Ayrton. Cannon-Brookes provides both biographical and critical text on Ayrton's development as an artist through close analysis of his paintings and sculpture. All illustrations are reproduced in black and white.
Moore content: pages 53-60.
Page 53 discusses the support, guidence and tuition Moore gave Ayrton in developing his technical knowledge of maquette construction.
Page 54 quotes Moore as saying Ayrton's work was a little bit melodramatic". Cannon-Brookes then discusses the influence of Ayrton's "Figure on a Wall" 1954 stating that the composition was directly copied by Moore: "that's a bloody good idea; I'll use that!". There is also exploration of the use of bones in both artist's sculpture.
Page 55 reproduces Ayrton's 1967 portrait of Moore.
Page 57 mention of Moore's reclining female figures.
PAge 60 states that the influence of Moore can easily be "misunderstood" in the "superficial resemblance" of Ayrton's work."
Moore content: pages 53-60.
Page 53 discusses the support, guidence and tuition Moore gave Ayrton in developing his technical knowledge of maquette construction.
Page 54 quotes Moore as saying Ayrton's work was a little bit melodramatic". Cannon-Brookes then discusses the influence of Ayrton's "Figure on a Wall" 1954 stating that the composition was directly copied by Moore: "that's a bloody good idea; I'll use that!". There is also exploration of the use of bones in both artist's sculpture.
Page 55 reproduces Ayrton's 1967 portrait of Moore.
Page 57 mention of Moore's reclining female figures.
PAge 60 states that the influence of Moore can easily be "misunderstood" in the "superficial resemblance" of Ayrton's work."
0002925
Author/Editor: CLARK Roger.
Publisher: British Journal of Photography
Place Published: London
Year: 1978
Date & Collation: (28 July) 642-644(4 illus).
Description: Report of a visit to Much Hadham to photograph the sculptor and some of his works, on the occasion of his 80th birthday.
0002928
Publisher: Collage
Place Published: Montreal
Year: 1978
Date & Collation: (Oct) 3(10) ..(1 illus).Text in English and French.
Description: Note in Montreal Museum of Fine Arts publication of gift by Dr. and Mrs. Max Stern of La Parze Woman, 1957-1958 bronze.
0002931
Publisher: Cosmopolitan
Place Published: London
Year: 1978
Date & Collation: (Nov) 67(4 illus).
Description: Short feature on Gemma Levine and With Henry Moore (See 0002464).
0002947
Publisher: Israel Museum News
Place Published: Jerusalem
Year: 1978
Date & Collation: 13 1978 81-107(1 illus).
Description: 99,101(2 illus) Henry Moore.
Two female figures, 1927-1928. Gift of Mrs. Hilda Goldberg.
Two female figures, 1927-1928. Gift of Mrs. Hilda Goldberg.
0002950
Author/Editor: VON GEHREN Georg.
Publisher: Kunstwerk
Place Published: Stuttgart
Year: 1978
Date & Collation: (Aug) 31(4) 66,75.Text in German.
Description: Includes short review of Tate and Serpentine exhibitions (See 0002718, 0002719, 0003064 and 0002830) marking Moore's 80th birthday.
0002953
Author/Editor: THOMAS Denis.
Publisher: Listener
Place Published: London
Year: 1978
Date & Collation: (13 July) 56-57(1 illus).
Description: Review of the exhibitions at the Tate Gallery (See 0003064 and 0002830) and the Serpentine (See 0002718 and 0002719), with particular emphasis on the drawings: part of a folk memory of the blitz; one though that Moore virtually invented.""
0002969
Author/Editor: RUSSELL John.
Publisher: Smithsonian
Place Published: Washington
Year: 1978
Date & Collation: (Aug) 74-81(9 illus).
Description: Biographical outline of Moore's career on occasion of Hirshhorn Museum and Sculpture Garden exhibition (See 0002729). For it is a great thing to be before the public uninterruptedly for the best part of half a century and still stand up erect and uncontaminated as a completely honorable human being.""
0002972
Author/Editor: FULLER Peter.
Publisher: Studio International
Place Published: London
Year: 1978
Date & Collation: (1) 4-18(1 Moore illus).
Description: Includes a passing mention of Moore, and a 1970 photograph of the artist with Naum Gabo, Barbara Hepworth and Lady Read.
0002975
Author/Editor: FEAVER William.
Publisher: Vogue
Place Published: London
Year: 1978
Date & Collation: (July) 26(1 illus).
Description: Short note on Henry Moore at 80 (See 0002992) and the Tate and Serpentine exhibitions (See 0003064, 0002830, 0002718 and 0002719) including a brief discussion on Moore's position in art today.
0002991
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1978
Date & Collation: 46 min.Colour.Sound.Producer Kenneth SHEPHEARD.
Description: B.B.C. 2 television programme on Florence in early 1400s, with Sir Denys LASDUN commenting on Brunelleschi, Bridget RILEY on Masaccio, and Henry MOORE on Donatello. Moore notes Donatello's greatness and humanity, and describes how he copied a Donatello relief to discover how the Italian sculptor used light and shade. In commenting on other Donatello works Moore notes variously his affirmation of life, his energy, use of drapery, heads and hands.
0002994
Publisher: Blackwood Productions
Place Published: New York
Year: 1978
Date & Collation: 58 mins. Colour.Sound.Produced and directed by Michael BLACKWOOD.
Description: Includes a six-minute section on Barbara Hepworth and Henry Moore. Views of Stonehenge and Moore's works at Much Hadham and Toronto. Moore comments briefly on Adel Rock, preference for carving, expression of energy, sheep, placing of sculpture in nature rather than architecture. Elsewhere in the film Surrealism is cited as shaping Moore's early career; and Anthony Caro mentions briefly his time as assistant to Moore.
0002914
Author/Editor: BUSTARD James.
Publisher: Artscribe
Place Published: London
Year: 1978
Date & Collation: 12 1978(June) 48-53(4 Moore illus).
Description: Quite detailed account of the founding of Unit One and its activities in the 1930s; written at the time of the Portsmouth exhibition (See 0002740). There are photographs of Henry Moore and of his studio in 1934, together with an illustration of Reclining Figure, 1933 carved reinforced concrete. There is also a 1934 photograph of the Hon. Mrs. Dennis Craig with a work by Henry Moore. There are several mentions of Moore's participation in the movement, and contemporaneous activities involving Circle and the Surrealist movement.
0002917
Publisher: Arts Review
Place Published: London
Year: 1978
Date & Collation: (21 July) 30(14) 376-377,393(5 illus).
Description: DARLEY Gillian. Henry Moore at the Serpentine (See 0002718 and 0002719).
(A staggering affirmation of Henry Moore's creative power in recent years...he threatens to overwhelm us with grandeur and almost inconceivable scale".)
VAIZEY Marina. Moore at Fischer (See 0002728).
(Notes the variety of materials used and discusses briefly individual works.)
GILMOUR Pat. Sculpture Gift and Drawings The Tate (See 0002830 and 0003064).
(Describes the sculpture "both tender and tough" and the importance of the drawings as an indication of source ideas.)
SIMMONS Rosemary. Graphics: Moore lithographs.
(Short review of the Curwen Gallery exhibition (See 0002724) relating prints to Moore's work in other media with a passing description of the techniques employed)."
(A staggering affirmation of Henry Moore's creative power in recent years...he threatens to overwhelm us with grandeur and almost inconceivable scale".)
VAIZEY Marina. Moore at Fischer (See 0002728).
(Notes the variety of materials used and discusses briefly individual works.)
GILMOUR Pat. Sculpture Gift and Drawings The Tate (See 0002830 and 0003064).
(Describes the sculpture "both tender and tough" and the importance of the drawings as an indication of source ideas.)
SIMMONS Rosemary. Graphics: Moore lithographs.
(Short review of the Curwen Gallery exhibition (See 0002724) relating prints to Moore's work in other media with a passing description of the techniques employed)."
0002920
Author/Editor: ALVAREZ DIEZ Ildefonso.
Publisher: Bellas Artes
Place Published: Spain
Year: 1978
Date & Collation: 61 11-18(11 illus).Text in Spanish.
Description: Review of Serpentine and Tate Gallery exhibitions (See 0002718 and 0002719, 0003064 and 0002830) describing his working methods and giving appreciation of individual sculptures and drawings. Includes quotations from Moore's published statements.
0002936
Publisher: Current Biography
Place Published: New York
Year: 1978
Date & Collation: (Feb) 39(2) 29-33(1 illus).Bibliog.
Description: Also appeared in Current Biography Yearbook 1978. Supersedes entry in Current Biography 1954 (See 0007819). An objective four-page survey of Moore's work, life and career. It outlines his standing in the art world and documents in some detail his Yorkshire background, and his early work. A description of his War Drawings is followed by a summary of the best known and public pieces. The prints of the 1970s, and the Toronto gift bring the biography up to date.
0002939
Author/Editor: HAENLEIN Charlotte.
Publisher: Du
Place Published: Zürich
Year: 1978
Date & Collation: (Aug) 14(1 illus).Text in German.
Description: Note on the 80th birthday exhibitions, at Bradford (See 0002722), Tate Gallery (See 0003064 and 0002830), and the Serpentine (See 0002718 and 0002719).
0002942
Author/Editor: KEATE David.
Publisher: The Friend
Place Published: London
Year: 1978
Date & Collation: (28 July) Cover,919-920(1 illus).
Description: Note on Moore's eightieth birthday and the London exhibitions. Mentions briefly the sacred and secular aspects of Moore's work, and the importance of nature and the human figure.
0002958
Publisher: M.S.F. News
Place Published: Basingstoke
Year: 1978
Date & Collation: 4pp(3 Moore illus).
Description: Morris Singer Foundry serial publication with illustrations and brief comment on Sheep Piece, 1971-1972 bronze and Mirror Knife Edge, 1977 bronze, and good wishes to Moore on his 80th birthday.
0002961
Author/Editor: CRICHTON Fenella.
Publisher: Pantheon
Place Published: Munich
Year: 1978
Date & Collation: (Oct-Dec) 36(4) 378-379(1 illus).
Description: Review in Museen und Galerien section of Tate (See 0002830), Serpentine (See 0002718 and 0002719) and Fischer Fine Art (See 0002728) exhibitions celebrating the eightieth birthday of the grand old man of British sculpture" noting the continuing affinity with nature and the human body.
Followed by review in German by Michael SEMFF of Tate Gallery drawings exhibition (See 0003064). Describes the exhibition and the importance of drawing to Moore's art as a whole. Traces the development of thematic and stylistic content over the decades and refers to the variety of influences."
Followed by review in German by Michael SEMFF of Tate Gallery drawings exhibition (See 0003064). Describes the exhibition and the importance of drawing to Moore's art as a whole. Traces the development of thematic and stylistic content over the decades and refers to the variety of influences."
0002964
Author/Editor: STEINGRABER Erich.
Publisher: Pantheon
Place Published: Munich
Year: 1978
Date & Collation: (July-Sept) 36(3) Cover,240-270(50 illus).Bibliog.Text in English, French and German.
Description: Dedicated to the artist on his eightieth birthday, 30 July 1978, this article begins by outlining the function of the bozzetto" or maquette from Renaissance art. Moore's workshop practice is seen as rooted in Renaissance tradition and his own statements as of prime importance in understanding the creative origins of his ideas. The drawings are seen as supreme examples of great art and essentially the studies of a sculptor exploring three-dimensional form. An outline is given of Moore's historical and artistic influences and his examinations of forms in nature. His drawings also document the sculptural examination of space interior and exterior forms and other ideas. While drawings were ideal in exploring the essential frontality of his early carving maquettes became necessary to examine the increased three-dimensionality of the larger bronzes. By the 1950s these drawings became less frequent and gave way to clay and later plaster maquettes from which bronze casts may be taken becoming small sculptures in their own right. Intermediate between the maquette and the final sculpture can be the working model cast in bronze on about half the scale of the work proper. Like the ideas expressed in drawings the maquettes also go through stages of development before reaching maturity. Natural forms predominate and metamorphose into works of sculpture with locking embracing or fusion of forms often an important element. The sheer size of some later works has extended the use of materials into fibre-glass blocks. Recently his graphic work is revived in print making and drawings of Gus and of nature. A revival of carving is also evident in recent work.
In the text of an interview between Henry Moore Wolfgang Fischer and Erich Steingräber at Much Hadham on 3 April 1978 Moore confirms his change from drawing to maquette as the initial plans for a sculpture. The advantage over drawing is that the three-dimensional work has many points of view whereas the view that is drawn first tends to be the important view. "I think now that in working with maquettes my sculpture is more truly three-dimensional than it was when I was a young sculptor." Moore speaks of his enjoyment in the creative process of producing ideas in maquette form. Many maquettes are cast simply because they represent ideas worth preserving in permanent form. Moore sees himself as a sculptor who is naturally a carver but stresses it is the mind and idea that is important more so than the material used. Drawing is now used as a separate thing from sculpture and to enhance pleasure and understanding. The article finishes with fifteen published quotations from Moore dating between 1930 and 1968.
Also published in extended form as a Pantheon Edition (See 0002965)."
In the text of an interview between Henry Moore Wolfgang Fischer and Erich Steingräber at Much Hadham on 3 April 1978 Moore confirms his change from drawing to maquette as the initial plans for a sculpture. The advantage over drawing is that the three-dimensional work has many points of view whereas the view that is drawn first tends to be the important view. "I think now that in working with maquettes my sculpture is more truly three-dimensional than it was when I was a young sculptor." Moore speaks of his enjoyment in the creative process of producing ideas in maquette form. Many maquettes are cast simply because they represent ideas worth preserving in permanent form. Moore sees himself as a sculptor who is naturally a carver but stresses it is the mind and idea that is important more so than the material used. Drawing is now used as a separate thing from sculpture and to enhance pleasure and understanding. The article finishes with fifteen published quotations from Moore dating between 1930 and 1968.
Also published in extended form as a Pantheon Edition (See 0002965)."
0002980
Author/Editor: BOWKER J.W.
Publisher: Zygon: journal of religion and science
Place Published: Chicago
Year: 1978
Date & Collation: (Dec) 13(4) 313-332.Bibliog.
Description: Paper presented at the Twenty-fourth Summer Conference (Aesthetics, Symbols, and Truth in Science and Religion) of the Institute on Religion in an Age of Science, Star Island, New Hampshire, July 30-August 6, 1977. Parts of it have been included in J.W. Bowker's The Religious Imagination and the Sense of God (See 0009997). Quotes from Henry Moore's published statement on the Madonna and Child, 1943-1944 Hornton stone, in a section of the essay headed Artist's Problem in a Religious System.
0022279
Author/Editor: WIKBORG Tone
Place Published: Norway
Year: 1978
Date & Collation: 3pp.
Description: Three typed pages of recollected notes from Tone Wikborg - recalls meeting Moore when he visited Bygdøy, near Oslo, to oversee the installation of Large Torso: Arch in August 1978. Topics covered include:
Landscape
Drawing, importance of
Age
Picasso
Miro
Cezanne
Rodin
Irina, the support of
Direct Carving
Bronze editions
Dallas
Washington
Vocation, importance of.
Includes letter to and from Tim Llewellyn, Director of Henry Moore Foundation, dated 1995.