Henry Moore Artwork Catalogue
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Catalogue published for Henry Moore: In Tuscany exhibition at the Museo Novecento. Also published in Italian as Henry Moore: In Toscana.
First part of the catalogue is made up of photographs of 17 bronzes, 7 works on paper, and a plaster-and-clay model related to Maquette for Square Form with Cut. Following are nine short essays, largely about Moore's connections with Italy: Sergio RISALTI writes about Moore in Tuscany; Emmanuele GRECO discusses Moore's visit to Italy in 1925; Marco BAZZINI discusses Moore and Marino MARINI; and Lucia MANINI focuses on Moore's connection with Il Bisonte. Federica BERTI discusses Moore and the Forte di Belvedere; Carlo Ludovico RAGGHIANTI's essay for the introduction to Il Bisonte's Five Engravings by Moore is reproduced; Giulio GORI writes on his friendship with Moore, and Sandro VERONESI on Large Square Form with Cut in Prato. Finally, Dominique PAPI writes about Giorgio CIPRIANI's photographs of Moore in the Papi Cipriani Archive. There are also two selections of press cuttings, one on the return of Warrior with Shield to Florence, and the other on the 1972 Mostra di Henry Moore exhibition at the Forte di Belvedere.
Portuguese edition of Art and Social Change: A Critical Reader (0020998).
Collects an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. pp.100-105 is the text of the British Surrealist Group's 1938 pamphlet "We Ask Your Attention", signed by Moore along with 14 other members. One of the images on the cover, no.1, shows surrealist artists marching in the 1938 May Day procession, carrying placards that read "Chamberlain must go" and wearing masks of Neville Chamberlain's face designed by F. E. McWilliam.
Book on the representation and re-interpretation of landscape in British art, 1943-1967. Several mentions of Moore's sculpture, including specific mention of the Family Group at Barclay School, Stevenage, the Harlow Family Group, and Draped Seated Woman in Tower Hamlets (all illus.). Also mentioned in connection with Moore is Trevor Tennant's Gulliver, described as being based on Moore's reclining figure sculptures. Discussion of the postwar demand for Moore's work as public art; his early association with CND, and the parallels between his reclining figures and Bill Brandt's abstract nude photographs.
Richard Calvacoressi interviews the sculptor Thomas Houseago and Amélie Simier, director of the Musée Rodin, about the influence of Auguste Rodin on contemporary sculpture. Several references to Henry Moore.
Brief introduction to Moore's life at Perry Green, drawing comparison to Auguste RODIN at Meudon. Mention of Moore/Rodin exhibition. Discussion of Moore's personal art collection, and in particular the five Carrière works in the collection. Discussion of the sale in 1997 of works from the Moore family collection at Sotheby's New York, and the opening of Hoglands for visitors in 2007 with works by Carrière among those by Degas, Cézanne, and Seurat among other famous names. Discussion of parallels between Moore's interest in the Mother and Child theme and Carrière's in maternités. Four illus. of Hoglands, six of Carrière's works owned by Moore (two of Famille: Mmm. Carrière, Élise, et Léon), and two of Henry Moore works: Lullaby (CGM 271) and Recumbent Figure (LH 191).
Catalogue for modern and contemporary art sale at Galerie Kornfeld, Bern. One HM lot: Lot 421 (p.125) is Upright Motive B (LH 587 cast 9). Illus. with catalogue information. Estimate: €20,000.
Book of artworks depicting cats in the Tate's collection. Moore's Tiger (CGM 644), from the Animals in the Zoo portfolio (POR 61), is illustrated (p.52) with brief comments.
Catalogue for an exhibition focussing on "eerie representations of the British landscape" in 20th century art. One Moore work: Stonehenge V 1973 (CGM 212) (illus) on p.51, with commentary on Moore's interest in Stonehenge, and a comparison of Large Arch to the form of a Stonehenge trilithon. Moore's interest in Stonehenge mentioned on p.47 (introduction to the chapter "Ancient Landscapes: Shadows of the Past", which focusses on the representation of neolithic sites in modern British art). Moore also mentioned on p.99 (catalogue entry for Gertrude HERMES, Through the Windscreen 1929), as a "lifelong friend and supporter" of Hermes.
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).