Henry Moore Artwork Catalogue
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dorothy hodgkin
0021134
Author/Editor: FERRY Georgina.
Publisher: Granta Publications
Place Published: London
Year: 1998
Date & Collation: 423pp.Illus.Index.
Description: Biography of British, Nobel Prize winning, female crystallographer, whose arthritic hands Moore drew in 1978, (HMF 78(38)-HMF 78(47)). Brief mention of this on page 394, recounting how Hodgkin met Moore at Cambridge; states Sir Rex Richards made the initial approach to Moore. No Moore illus.
0015660
Author/Editor: HODGKINS Frances.
Publisher: Auckland University Press
Place Published: Auckland
Year: 1993
Date & Collation: x,584pp.Plates.Bibliog.Biog.Index.
Description: Selection from letters of New Zealand painter mostly in the Alexander Turnbull Library, Wellington. The introduction notes a 1945 exhibition with Moore and others (See 0015708). It also quotes Moore's statement from Ascent, Dec 1969: One could recognize a Frances Hodgkins from a long distance purely by colour alone" The editor also notes links with Moore at the Lefevre Gallery The Seven and Five Society Hampstead in the 1930's.
In a 1944 letter to Myfanwy Evans Frances Hodgkins appreciated Grigson's tribute to Moore in the Penguin Modern Painters series (See 0008952).
Moore is also mentioned in a 1945 letter to Eardley Knollys and Jane Saunders when Hodgkins wished to buy a war drawing for a friend."
In a 1944 letter to Myfanwy Evans Frances Hodgkins appreciated Grigson's tribute to Moore in the Penguin Modern Painters series (See 0008952).
Moore is also mentioned in a 1945 letter to Eardley Knollys and Jane Saunders when Hodgkins wished to buy a war drawing for a friend."
0001440
Publisher: Orbis Publishing
Place Published: London
Year: 1982
Date & Collation: 256pp.Illus.Bibliog.
Description: Published in New York by Hudson Hills Press 1981 (See 0001781), with involvement of Rockefeller up to the time of his death in 1978.
142-147(8 illus) Henry Moore: seven Sculptures 1945-1966.
Rockefeller recalls briefly his friendship with Moore from 1946 onwards, and there is passing mention of Moore's works in texts by Barr and Lieberman. Moore's sculptures appear incidentally in one or two other photographs in the book. Lieberman's text is adapted from the 1969 M.O.M.A. exhibition catalogue (See 0004899).
142-147(8 illus) Henry Moore: seven Sculptures 1945-1966.
Rockefeller recalls briefly his friendship with Moore from 1946 onwards, and there is passing mention of Moore's works in texts by Barr and Lieberman. Moore's sculptures appear incidentally in one or two other photographs in the book. Lieberman's text is adapted from the 1969 M.O.M.A. exhibition catalogue (See 0004899).
0001781
Publisher: Hudson Hills Press
Place Published: New York
Year: 1981
Date & Collation: 256pp.Illus.Bibliog.
Description: For annotation see London edition: 0001440.
0024210
Author/Editor: MASSEY Anne
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2020
Date & Collation: 193pp.illus.
Description:
Biography of Dorothy Morland, director of the Institute for Contemporary Arts from 1950 to 1968. Mentions of Moore - a "lifelong friend" (p.22) - throughout, from their possible first meeting through their joint associations with the Group Theatre's production of Auden's Dance of Death in 1935 onwards. Two Moore works illustrated: Seated Figure LH 347 with Freda Paolozzi (p.62) and a textile design (Zigzag TEX 23) on the cover of the exhibition catalogue for Paintings into Textiles (p.79).
0020766
Author/Editor: FELSTINER Mary.
Publisher: University of Nebraska Press
Place Published: Lincoln
Year: 2005
Date & Collation: 218pp.9 B&W Illus.
Description: A partially biographical study of the effects of arthritis. Includes illustration of Henry Moore's Dorothy Hodgkin's Hands, drawing 1978(HMF 78(45)).
0022906
Author/Editor: DYER Angela
Publisher: Pelem Press
Place Published: London
Year: 2013
Date & Collation: 136pp.Illus.Notes.Index.Picture credits.
Description: Book on the nature and diversity of trees. 24 Reference to Moore and two Moore illus: Hands of Dorothy Crowfoot Hodgkin II 1978 lithograph (CGM 485); Trees III: Knuckled Trunk 1979 etching (CGM 549).
0005617
Author/Editor: BARR Alfred H. Jr.
Publisher: Arno Press
Place Published: New York
Year: 1966
Date & Collation: 250pp(223 illus).Biog.Bibliog by Beaumont NEWHALL.Catalog by Dorothy C.MILLER and Ernestine M.FANTL.
Description: Published for The Museum of Modern Art. Reprint of 1936 exhibition book (See 0009210). For 1975 edition see 0003549. For 1986 edition see 0000203.
0003549
Author/Editor: BARR Alfred H. Jr.
Publisher: Secker and Warburg
Place Published: London
Year: 1975
Date & Collation: 249pp(223 illus).Biog.Bibliog by Beaumont NEWHALL.Catalog by Dorothy C.MILLER and Ernestine M.FANTL.
Description: Also published by New York Graphic Society 1974. Reprint of 1936 M.O.M.A. exhibition book (See 0009210). For 1966 Arno Press reprint see 0005617. For 1986 Belknap Press reprint see 0000203.
200,202,218,247(1 illus) Henry Moore.
For annotation see 0009210.
200,202,218,247(1 illus) Henry Moore.
For annotation see 0009210.
0020354
Author/Editor: TUSA John.
Publisher: Methuen
Place Published: London.
Year: 2003
Date & Collation: vi,268pp.
Description: Extracts from 'The Sunday Feature: The John Tusa Interview' copyright BBC. Radio 3 interviews with Eva Arnold, Frank Auerbach, Harrison Birtwistle, Anthony Caro, Elliott Carter, Milos Forman, Nicholas Grimshaw, Tony Harrison, Howard Hodgkin, György Ligeti, Paula Rego, Muriel Spark, David Sylvester. No index or illustrations. The interviews with Anthony Caro (See 0018823) and David Sylvester (See 0019791) mention Henry Moore.
0016064
Author/Editor: WHYBROW Marion.
Publisher: Antique Collectors' Club
Place Published: Woodbridge
Year: 1994
Date & Collation: 236pp.Illus.Biog.Bibliog.
Description: Includes a dozen references to Moore. The L.C.C. Sculpture 1850 and 1950 exhibition (See 0007208) travelled to Penlee Park, Penzance. Moore purchased a painting by Terry Frost in 1960. Moore took part in a radio discussion on Frances Hodgkins, made by June Opie.
0009258
Author/Editor: Edited by READ Herbert
Publisher: Cassell
Place Published: London
Year: 1934
Date & Collation: 124pp(67 plates).
Description: Includes an introduction by Herbert Read which reprints Paul Nash's letter to The Times 12 June 1933 (See 0009298), announcing the formation of the group. It also reprints the Questionnaire sent by Read to each member of Unit One. The bulk of the book consists of photographs and statements by the members, guided by the questionnaire. The Headquarters of the Unit was the Mayor Gallery, and membership was: Barbara Hepworth, Henry Moore, John Armstrong, John Bigge, Edward Burra, Tristram Hillier (replacing Frances Hodgkins), Paul Nash, Ben Nicholson, Edward Wadsworth, Wells Coates, Colin Lucas.
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
27-35(7 illus) Henry Moore.
In common with the other sections there are photographs of the artist and of his hands. The other illustrations are of the Hampstead studio, and four Carvings 1930-1933. In an important text, widely reprinted under the title The Sculptor's Aims, Moore sets out the qualities in sculpture which are of fundamental importance to him:
Truth to Material. Every material has its own individual qualities. It is only when the sculptor works direct when there is an active relationship with his material that the material can take its part in the shaping of an idea. Stone for example is hard and concentrated and should not be falsified to look like soft flesh..."
Full three-dimensional realisation. Argues for "full spatial reality" as "only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture". Asymmetry is important "sculpture fully in the round has no two points of view alike."
Observation of Natural Object. Spells out the importance of nature as a source of primary inspiration with seminal statements on each topic: "The human figure is what interests me most deeply... Pebbles and rocks show Nature's way of working stone... Bones have marvellous structural strength and hard tenseness of form... Trees (tree trunks) show principles of growth and strength of joints... Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape... There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field)..." Moore also writes on "Vision and expression" and "Vitality and power of expression" in which he speaks of combining both abstract and human elements to achieve a fuller deeper meaning. Sculpture must have a vitality or pent-up energy of its own independent of the object it may represent. "Beauty in the later Greek or Renaissance sense is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses the second has a spiritual vitality which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not therefore an escape from life."
Title as printed: Unit 1."
0023078
Author/Editor: LOHÖFER Astrid
Publisher: Universitatsverlag WINTER Heidelberg
Place Published: Memmingen
Year: 2014
Date & Collation: 321pp.Illus.Workd cited.Index of names and works.
Description: Published PhD thesis. 268-71 Reference to On Looking into Henry Moore by Dorothy LIVESAY, from Selected Poems (1926-1956). Moore described as a contemporary of Dorothy Livesay. Illus of Large Reclining Figure 1984 fibreglass (LH 192b) at Kew Gardens, London. Discussion of Moore in realtion to the poem.
0021496
Author/Editor: COX Peter
Publisher: The Dartington Hall Trust
Place Published: Devon
Year: 2005
Date & Collation: viii.412pp.illus.Preface by James CORNFORD
Description: Memoirs of Peter Cox's time at Dartington Hall, recounting, in particular, his time spent working with Dorothy and Leonard Elmhirst. Brief mentions of Moore. Brief discussion of the acquisition and installation of Moore's Memorial Figure as memorial for Christopher Martin. Main content:
Page 143: states Dorothy Elmhirst had the head of a girl in stone" by Moore which sat on her desk and was "one of the first pieces Henry Moore ever sold"."
0023547
Author/Editor: Edited by BACON Caroline; MCGREGOR James; NURSE Julia
Publisher: Trustees of the Cecil Higgins Art Gallery
Place Published: Bedford, England
Year: 2004
Date & Collation: 240pp.Illus.Glossary.Index.Credits
Description: A richly illustrated hardback catalogue presenting the prints in the Cecil Higgins Art Gallery Collection. There are some 300 illustrations of works from a wide range of artists including: Moore, Blake, Dürer, Bawden, Hockney, Hodgkin, Hepworth and Picasso. There is a foreword by Bamber Gascoigne. There is reference to Moore on page 19, in a quote from Edward Bawden about his student days in the early 1920s at the Royal College of Art, a "bumper year...Henry Moore side by side with those who just avoided the way, like Eric Ravilious and myself...". On page 108 there is a passing reference to Moore and the Modern Movement in the context of a work by Hepworth. On page 148 there is a full page image of Moore's lithograph Personages sur fond vert catalogued as Seated Figures 1957 (CGM 37) with accompanying commentary on page 149 of Moore's printmaking career, and reference to the Berggruen Gallery. Also on page 149 there is an image of Moore's etching Reclining Figure, Piranesi Background II 1979 (CGM 512) with commentary that includes references to Unit One, Paul Nash, Ben Nicholson, Gerald Cramer, Jacques Frélaut and to Moore having produced 719 prints from his studio between 1960 and 1980.
0003560
Publisher: Crowell
Place Published: New York
Year: 1975
Date & Collation: 224pp.Illus.
Description: A Balance House book. 100 works of art on the mother and child theme, with commentaries.
50-51(1 illus) Henry Moore: Madonna and Child, 1943-1944 Hornton stone, commentary by Henry MOORE.
194-195(1 illus) Henry Moore: Mother and Child: Crossed Feet, 1956 bronze, commentary by Dorothy RODGERS.
50-51(1 illus) Henry Moore: Madonna and Child, 1943-1944 Hornton stone, commentary by Henry MOORE.
194-195(1 illus) Henry Moore: Mother and Child: Crossed Feet, 1956 bronze, commentary by Dorothy RODGERS.
0009958
Publisher: Watson-Guptill
Place Published: New York
Year: 1977
Date & Collation: 220pp.
Description: Published in association with the Canadian Film Institute (Ottawa). Prefatory texts by Dorothy MACPHERSON, William SLOAN and Margareta AKERMARK, Wilder GREEN refer to Films on Art 1952 (See 0009496). Annotated listing, with entries for four monographic films on Henry Moore and two general films with reference to the sculptor.
0015612
Publisher: Bloomsbury Publishing
Place Published: London
Year: 1993
Date & Collation: xxxix,593pp.17 plates.Bibliog.Foreword by Quentin BELL.Afterword by Frances SPALDING.
Description: Published in New York by Pantheon Books.
485-488 To Jane Bussy, 9 Jan 1945.
Mentions Duncan Grant's visit to a conference at Chichester consisting of a week-end party with Tom Eliot Miss Dorothy Sayers Eric MacLagan Henry Moore and many more all planted out in pubs and meeting to discuss art and religion...But his chief activity really is helping the ladies of Miller's to run Miller's"."
485-488 To Jane Bussy, 9 Jan 1945.
Mentions Duncan Grant's visit to a conference at Chichester consisting of a week-end party with Tom Eliot Miss Dorothy Sayers Eric MacLagan Henry Moore and many more all planted out in pubs and meeting to discuss art and religion...But his chief activity really is helping the ladies of Miller's to run Miller's"."
0007023
Publisher: University of Wisconsin Press
Place Published: Madison
Year: 1959
Date & Collation: xxxi,767pp.Plates.Biog.Bibliog.
Description: Concluding volume of a biography built around letters and other texts by Lawrence and others. The controversy about Lawrence's paintings took place at the Warren Gallery in 1929, and there is background information on Dorothy Warren (Mrs. Philip Trotter) and the gallery at 39a Maddox Street, London W.1.
194-195,695,etc Henry Moore.
Moore's exhibition (See 0009446) was extended from three to six weeks. Quotations are printed from The Times, 26 Jan 1928 (See 0009447) and a letter to Philip Trotter from Hubert Wellington noting the purchase by the Hamburg Gallery of three works by Moore as a result of the exhibition. There are four photographs of the Warren Gallery at the time of the Lawrence exhibition.
194-195,695,etc Henry Moore.
Moore's exhibition (See 0009446) was extended from three to six weeks. Quotations are printed from The Times, 26 Jan 1928 (See 0009447) and a letter to Philip Trotter from Hubert Wellington noting the purchase by the Hamburg Gallery of three works by Moore as a result of the exhibition. There are four photographs of the Warren Gallery at the time of the Lawrence exhibition.
0015914
Author/Editor: DE COSSART Michael.
Publisher: Alan Sutton Publishing
Place Published: Gloucester and Wolfeboro Falls, N.H.
Year: 1990
Date & Collation: ix,246pp.16 plates.Bibliog.
Description: Includes half-a-dozen passing mentions of Moore, including exhibitions in which they both participated; and the 1954 controversy over Bristol's purchase of Draped Torso, 1953 bronze. Melhuish met the Moores at a party in the flat of Sir Francis Rose and Lady Frederica Rose (Dorothy Carrington) in Rosetti House, Flood Street.
0024208
Author/Editor: SAGAR Keith
Publisher: University of New Mexico Press
Place Published: Albequerque, NM
Year: 1989
Date & Collation: 256pp.illus.
Description: Biography of the author D.H. Lawrence based largely off of Lawrence's letters. One reference to Moore: in the context of an exhibition of Lawrence's paintings at the Warren Gallery, mentions that one of Dorothy Warren's earliest exhibitions had been of the sculptures and drawings of Henry Moore, then an unknown.
0022624
Author/Editor: HILL Jane
Publisher: Lund Humphries
Place Published: Farnham
Year: 2011
Date & Collation: 152pp.Illus.Bibliography.Chronology.Index
Description: Analysis and comprehensive catalogue of the artist's sculpture. 10 Leon Underwood and 'Harry' Moore. 16 the Brook Green circle" and Henry Moore and Irina Radetsky. 17 illus of Hermes in the orchard with Moore's wedding gift. Robert Burstow is cited as describing these young friends as sharing "the modern reforming aesthetic of sunlight and air the cult of youth and the nude associated with the northern hemisphere". Moore described in his notebook Figure Studies 1922-4 as "an imaginary picture of all one's friends at a nude party". Illus of Henry Moore Irina Radetsky Judith Raymond Coxon Hermes Simon and Blair Hughes-Stanton at Chetwynd House. 33 Moore's one man show at the Dorothy Warren Gallery in 1928 "he cherished the identity of the buyers: Augustus John Henry Lamb and Jacob Epstein". 35 passing reference to Moore as one of Frank Pick's protégés. 56 Moore Epstein and Hermes working with the Art Bronze Foundry. 63 passing reference to teaching and exhibiting. 65 Patricia Strauss Chairman of the Parks Committee and collector of Moore initiated the Open Air Exhibition of Sculpture Battersea Park showing Moore and other artists. 75 the Musée de l'homme Paris inspired Hermes' Oceanic carvings and Moore's Internal/External Forms 1952-4. 81 and 94 reference to Mother and Child acquired by Francis Watson for the Rajah of Aundh. 83 passing reference to Moore alongside Hepworth Caro Long."
0005627
Publisher: Macdonald
Place Published: London
Year: 1966
Date & Collation: 293pp(128 illus).Bibliog 281-287(63 entries).
Description: Anthology of statements, grouped into: Biographical, On Sculpture, Periods of Art and Individual Artists, Individual Works by Henry Moore. Sections may take the form of reprints of earlier texts, or an amalgam of published or unpublished statements. Sources are given and useful editorial notes are included.
5-6 JAMES Philip. Acknowledgements.
(Acknowledges help of Henry Moore, individuals, publications and photographic sources).
7-8 Contents.
9-12 List of Illustrations.
(Includes Sculpture and Drawings by Moore, works by other artists, Natural objects).
13-25 JAMES Philip. Introduction.
("The literature on Henry Moore in the form of books, articles, introductions to exhibition catalogues, and transcriptions of interviews now amounts to a considerable bibliographical edifice." Surveys Moore's career and main works).
29-30 Boyhood.
(From Face to Face. See 0006953).
33-36 The Royal College of Art.
(Extracts from 1947 and 1961 published interviews).
37-43 Italy.
(Extracts from five publications 1947-1961).
44-46 The First Exhibition.
(Extract from 1961 published interview. For catalogue see 0009446).
47-48 Greece.
(Extracts from 1947 and 1960 published interviews).
49-51 Influences.
(Extracts from four publications 1947-1964).
52-54 A Working Day.
(Extracts from two interviews 1960-1961).
57-60 The Nature of Sculpture.
(Moore text from A.A. Journal, May 1930 (See 0009419) and extracts from 1960 and 1964 interviews).
62-68 The Sculptor Speaks.
(Moore's text from The Listener, 18 Aug 1937. For annotation see 0009196).
69-72 Unit One.
(Moore's text from the 1934 publication. For annotation see 0009258).
73 Circle.
(Moore's two statements from the 1937 publication. See 0009178).
74 Notes from a Sketchbook.
(Brief quotation from Heads, Figures and Ideas (See 0007315) on Bust of Woman, Egyptian 18th Dynasty in the Museo Archeologico, Florence).
76-83 Art and Life.
(Part of a discussion between V.S. Pritchett, Graham Sutherland, Sir Kenneth Clark an d Henry Moore, from The Listener, 13 Nov 1941. See 0009073).
84-90 The Sculptor in Modern Society.
(The 1952 U.N.E.S.C.O. address. For annotation see 0007724).
91-96 The Hidden Struggle.
(For annotation see the Observer, 24 Nov 1957: 0007392).
97-112 Sculpture in the Open Air.
(Most of the British Council 1955 talk appears here (See 0007723), together with 1951 and 1960 published extracts).
113-114 Truth to Material.
(Extracts from 1951 and 1957 published texts).
115-117 The Human Form.
(Extracts from five publications 1951-1964).
118-122 On Space and Form.
(From Horizon interview 1960: see 0006972).
123-130 Scale.
(From three publications 1960-1964).
131-134 Tactile Values.
(From Dialogues on Art: see 0006846).
135-136 Carving.
(Two short extracts from 1960 and 1961 published interviews).
137-140 Bronze Casting.
(From Horizon interview 1960: see 0006972).
141-144 New Ideas.
(From 1960 and 1964 published interviews).
146-151 Drawing.
(Extracts from four publications 1944-1963).
155-163 Primitive Art.
(Moore's text from The Listener, 24 April 1941 (cited incorrectly as 24 Aug 1941). See 0009071 for annotation).
164-168 Mesopotamian Art.
(Moore's text from The Listener, 5 June 1935. See 0009251 for annotation).
169-174 Tribal Sculpture.
(Moore's text from Man, July 1951. See 0008207 for annotation).
175-186 Michelangelo.
(The Michelangelo Vision interview from Sunday Times magazine, 16 Feb 1964. See 0006177 for annotation).
187-189 Renoir.
(1962 statement on La Danseuse au Tambourin and La Danseuse aux Castagnettes painted by Renoir in 1909 and acquired by the National Gallery in 1961. "And yet these rounded forms have a marvellous, supple rhythm...they are so monumental... They make me realise that Renoir was really a much greater sculptor than Maillol.").
190-193 Cézanne.
(Extracts from 1961 and 1962 interviews, mainly on Moore's Trois Baigneuses 1873-1877).
194-197 Jacob Epstein.
(Obituary notice by Moore from Sunday Times, 23 Aug 1959. For annotation see 0007110).
198-203 Modern Art.
(Extracts from 1961 and 1962 published interviews, mentioning Picasso, Giacometti and others).
204-205 Abstract Art.
(Short extracts from three publications).
209 Stringed Figures 1937-39.
(Brief extracts from two publications 1960-1962).
212-218 Shelter Drawings.
(Extracts from four publications 1946-1962; and from 11 Dec 1964 letter to E.D. Averill on use of wax crayons and watercolour).
220-223 Madonna and Child (Northampton) 1943-1944.
(Basically, Moore's statement from the pamphlet Church of S. Matthew, Northampton, 1893-1943/ See 0008961 for annotation).
224-229 Family Group 1945-49.
(From letter to Dorothy Miller, 31 Jan 1951 on the Family Group, 1948-1949 bronze at Barclay School after the Impington Project of Henry Morris failed to materialise. Quoted also from 1955 Sculpture in the Open Air (See 0007723).
230-238 Time-Life Screen and Reclining Figure 1952-53.
(Sculpture in the Open Air texts by Moore, from 1955 British Council (See 0007723) and L.C.C. 1954 exhibition catalogue (See 0007756)).
239-240 Draped Torso 1953.
(From 12 March 1954 letter to S.D. Cleveland, on the concept of the partial figure and "how Greek it looks").
241-246 King and Queen, 1952-53.
(In the main, the Art and Artist 1956 questionnaire: see 0007423).
247-249 Internal and External Forms, 1953-54.
(From 31 Oct 1955 letter to Gordon Smith, Albright-Knox Art Gallery, on Upright Internal/External Form, 1953-1954 elm wood and its carving: "wood is a natural and living material, unlike plaster or metal which are built up by man.").
250-252 Warrior with Shield, 1953-54.
(From a 15 January 1955 letter on the concept of the bronze from finding a pebble on the seashore, the emotional connection with thoughts about England during the war, and its Greek influence).
253-257 Upright Motives (including the Glenkiln Cross) 1955-56.
(Extracts from Battersea Park 1960 catalogue (See 0006894) and Drie Staande Motieven 1965: see 0005925)
258-263 Reclining Figure (Unesco) 1957-58.
(Extracts from 1960 and 1962 published interviews).
264-265 The Reclining Figure.
(Extracts on the Reclining Figure theme from three publications 1947-1961).
266-274 Two Piece Reclining Figures 1959 and 1960.
(Two Piece Reclining Figure No.1, 1959 bronze and Two Piece Reclining Figure No.2, 1960 bronze. Extracts from two 1962 publications, and a brief statement sent to the Tate Gallery. Includes photographs of Adel Rock, and Seurat's Le Bec du Hoc, 1885).
275-277 Relief No. 1, 1959.
(Extracts on the bronze from two 1962 publications "I've always done reliefs from time to time because I feel one can't just cut out an aspect of sculpture which has existed right through from palaeolithic times").
278-279 Standing Figure (Knife Edge), 1961.
(1965 statement on influence of Bones and classical figures).
281-287 Bibliography.
(63 entries, which are the sources for the texts printed in Henry Moore on Sculpture).
289-293 Index.
(Selection of entries not documented above: Brancusi, Chacmool, Chamba tribe, Chartres Cathedral, Drapery, Alice Gostick, Holes, W.J. Keswick, Landscape, Life Drawings, Leeds School of Art, Leonardo da Vinci, London, British Museum, Masaccio, Commissions, Coal Mine Drawings, Carrara, Rembrandt, Rodin, William Rothenstein, Michael Sadler, Cycladic art, Easter Island sculpture, Egyptian ancient sculpture, Gothic sculpture, Mexican sculpture, New Ireland sculpture, Oceanic sculpture, Renaissance sculpture, Romanesque sculpture, Sumerian sculpture, Stone, Truth to material, Watteau, Recumbent Figure, 1938 green Hornton stone; Memorial Figure, 1945-46 Hornton stone; Three Standing Figures, 1947-48 Darley Dale stone; Reclining Figure: Festival, 1951 bronze.
Texts cited here have also further appeared elsewhere, and Henry Moore on Sculpture has been the source for many quotations. One printing of this edition repeats the dust jacket text on the endpapers. A paperback edition was published by MacDonald in 1968 (See 0005026). For New York editions see 0005345 and 0004469. For Henry Moore über die Plastik (German) see 0004238. For Henry Moore A Szobrászatról (Hungarian) see 0000414.
5-6 JAMES Philip. Acknowledgements.
(Acknowledges help of Henry Moore, individuals, publications and photographic sources).
7-8 Contents.
9-12 List of Illustrations.
(Includes Sculpture and Drawings by Moore, works by other artists, Natural objects).
13-25 JAMES Philip. Introduction.
("The literature on Henry Moore in the form of books, articles, introductions to exhibition catalogues, and transcriptions of interviews now amounts to a considerable bibliographical edifice." Surveys Moore's career and main works).
29-30 Boyhood.
(From Face to Face. See 0006953).
33-36 The Royal College of Art.
(Extracts from 1947 and 1961 published interviews).
37-43 Italy.
(Extracts from five publications 1947-1961).
44-46 The First Exhibition.
(Extract from 1961 published interview. For catalogue see 0009446).
47-48 Greece.
(Extracts from 1947 and 1960 published interviews).
49-51 Influences.
(Extracts from four publications 1947-1964).
52-54 A Working Day.
(Extracts from two interviews 1960-1961).
57-60 The Nature of Sculpture.
(Moore text from A.A. Journal, May 1930 (See 0009419) and extracts from 1960 and 1964 interviews).
62-68 The Sculptor Speaks.
(Moore's text from The Listener, 18 Aug 1937. For annotation see 0009196).
69-72 Unit One.
(Moore's text from the 1934 publication. For annotation see 0009258).
73 Circle.
(Moore's two statements from the 1937 publication. See 0009178).
74 Notes from a Sketchbook.
(Brief quotation from Heads, Figures and Ideas (See 0007315) on Bust of Woman, Egyptian 18th Dynasty in the Museo Archeologico, Florence).
76-83 Art and Life.
(Part of a discussion between V.S. Pritchett, Graham Sutherland, Sir Kenneth Clark an d Henry Moore, from The Listener, 13 Nov 1941. See 0009073).
84-90 The Sculptor in Modern Society.
(The 1952 U.N.E.S.C.O. address. For annotation see 0007724).
91-96 The Hidden Struggle.
(For annotation see the Observer, 24 Nov 1957: 0007392).
97-112 Sculpture in the Open Air.
(Most of the British Council 1955 talk appears here (See 0007723), together with 1951 and 1960 published extracts).
113-114 Truth to Material.
(Extracts from 1951 and 1957 published texts).
115-117 The Human Form.
(Extracts from five publications 1951-1964).
118-122 On Space and Form.
(From Horizon interview 1960: see 0006972).
123-130 Scale.
(From three publications 1960-1964).
131-134 Tactile Values.
(From Dialogues on Art: see 0006846).
135-136 Carving.
(Two short extracts from 1960 and 1961 published interviews).
137-140 Bronze Casting.
(From Horizon interview 1960: see 0006972).
141-144 New Ideas.
(From 1960 and 1964 published interviews).
146-151 Drawing.
(Extracts from four publications 1944-1963).
155-163 Primitive Art.
(Moore's text from The Listener, 24 April 1941 (cited incorrectly as 24 Aug 1941). See 0009071 for annotation).
164-168 Mesopotamian Art.
(Moore's text from The Listener, 5 June 1935. See 0009251 for annotation).
169-174 Tribal Sculpture.
(Moore's text from Man, July 1951. See 0008207 for annotation).
175-186 Michelangelo.
(The Michelangelo Vision interview from Sunday Times magazine, 16 Feb 1964. See 0006177 for annotation).
187-189 Renoir.
(1962 statement on La Danseuse au Tambourin and La Danseuse aux Castagnettes painted by Renoir in 1909 and acquired by the National Gallery in 1961. "And yet these rounded forms have a marvellous, supple rhythm...they are so monumental... They make me realise that Renoir was really a much greater sculptor than Maillol.").
190-193 Cézanne.
(Extracts from 1961 and 1962 interviews, mainly on Moore's Trois Baigneuses 1873-1877).
194-197 Jacob Epstein.
(Obituary notice by Moore from Sunday Times, 23 Aug 1959. For annotation see 0007110).
198-203 Modern Art.
(Extracts from 1961 and 1962 published interviews, mentioning Picasso, Giacometti and others).
204-205 Abstract Art.
(Short extracts from three publications).
209 Stringed Figures 1937-39.
(Brief extracts from two publications 1960-1962).
212-218 Shelter Drawings.
(Extracts from four publications 1946-1962; and from 11 Dec 1964 letter to E.D. Averill on use of wax crayons and watercolour).
220-223 Madonna and Child (Northampton) 1943-1944.
(Basically, Moore's statement from the pamphlet Church of S. Matthew, Northampton, 1893-1943/ See 0008961 for annotation).
224-229 Family Group 1945-49.
(From letter to Dorothy Miller, 31 Jan 1951 on the Family Group, 1948-1949 bronze at Barclay School after the Impington Project of Henry Morris failed to materialise. Quoted also from 1955 Sculpture in the Open Air (See 0007723).
230-238 Time-Life Screen and Reclining Figure 1952-53.
(Sculpture in the Open Air texts by Moore, from 1955 British Council (See 0007723) and L.C.C. 1954 exhibition catalogue (See 0007756)).
239-240 Draped Torso 1953.
(From 12 March 1954 letter to S.D. Cleveland, on the concept of the partial figure and "how Greek it looks").
241-246 King and Queen, 1952-53.
(In the main, the Art and Artist 1956 questionnaire: see 0007423).
247-249 Internal and External Forms, 1953-54.
(From 31 Oct 1955 letter to Gordon Smith, Albright-Knox Art Gallery, on Upright Internal/External Form, 1953-1954 elm wood and its carving: "wood is a natural and living material, unlike plaster or metal which are built up by man.").
250-252 Warrior with Shield, 1953-54.
(From a 15 January 1955 letter on the concept of the bronze from finding a pebble on the seashore, the emotional connection with thoughts about England during the war, and its Greek influence).
253-257 Upright Motives (including the Glenkiln Cross) 1955-56.
(Extracts from Battersea Park 1960 catalogue (See 0006894) and Drie Staande Motieven 1965: see 0005925)
258-263 Reclining Figure (Unesco) 1957-58.
(Extracts from 1960 and 1962 published interviews).
264-265 The Reclining Figure.
(Extracts on the Reclining Figure theme from three publications 1947-1961).
266-274 Two Piece Reclining Figures 1959 and 1960.
(Two Piece Reclining Figure No.1, 1959 bronze and Two Piece Reclining Figure No.2, 1960 bronze. Extracts from two 1962 publications, and a brief statement sent to the Tate Gallery. Includes photographs of Adel Rock, and Seurat's Le Bec du Hoc, 1885).
275-277 Relief No. 1, 1959.
(Extracts on the bronze from two 1962 publications "I've always done reliefs from time to time because I feel one can't just cut out an aspect of sculpture which has existed right through from palaeolithic times").
278-279 Standing Figure (Knife Edge), 1961.
(1965 statement on influence of Bones and classical figures).
281-287 Bibliography.
(63 entries, which are the sources for the texts printed in Henry Moore on Sculpture).
289-293 Index.
(Selection of entries not documented above: Brancusi, Chacmool, Chamba tribe, Chartres Cathedral, Drapery, Alice Gostick, Holes, W.J. Keswick, Landscape, Life Drawings, Leeds School of Art, Leonardo da Vinci, London, British Museum, Masaccio, Commissions, Coal Mine Drawings, Carrara, Rembrandt, Rodin, William Rothenstein, Michael Sadler, Cycladic art, Easter Island sculpture, Egyptian ancient sculpture, Gothic sculpture, Mexican sculpture, New Ireland sculpture, Oceanic sculpture, Renaissance sculpture, Romanesque sculpture, Sumerian sculpture, Stone, Truth to material, Watteau, Recumbent Figure, 1938 green Hornton stone; Memorial Figure, 1945-46 Hornton stone; Three Standing Figures, 1947-48 Darley Dale stone; Reclining Figure: Festival, 1951 bronze.
Texts cited here have also further appeared elsewhere, and Henry Moore on Sculpture has been the source for many quotations. One printing of this edition repeats the dust jacket text on the endpapers. A paperback edition was published by MacDonald in 1968 (See 0005026). For New York editions see 0005345 and 0004469. For Henry Moore über die Plastik (German) see 0004238. For Henry Moore A Szobrászatról (Hungarian) see 0000414.
0014736
Author/Editor: ROGERS Dorothy.
Publisher: Atheneum Publishers
Place Published: New York
Year: 1964
Date & Collation: xvi,283pp.Illus.21 Plates.
Description: Two of the colour photographs show Mother and Child: Crossed Feet, 1956 bronze owned by Mrs. Richard Rogers.