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0006683

Publisher: McNally, C. Eric.

Place Published: Dartington

Year: 1961

Date & Collation: 32pp(13 illus).Map insert.

Description: Descriptive booklet on the Gardens of the fourteenth century Dartington Hall in Devon. Page 22 carries a photograph of Henry Moore's Memorial Figure, 1945-1946 Hornton stone in situ, together with a 1947 text by Henry MOORE: I tried to make a figure which could rightly be called a memorial figure. I wanted the figure to have a quiet stillness and a sense of permanence as though it could stay here for ever; to have strength and seriousness in its effect and yet be serene and happy and resolved as though it had come to terms with the world and could get over the largest cares and losses.""

0021804

Publisher: The Royal Society

Place Published: London

Year: 2010

Date & Collation: 30pp.illus

Description: Booklet with black and white illustration of Moore's drawing Dorothy Hodgkin's Hands 1978 drawing, (HMF 78(45)) on the front cover. Conference date: Monday 10 and Tueday 11 May 2010. Also includes flyer with colour illustration of the same Moore work.

0000203

Author/Editor: BARR Alfred H. Jr.

Publisher: Belknap Press of Harvard University Press

Place Published: Cambridge, Mass. and London

Year: 1986

Date & Collation: iv,249pp(223 illus).Biog.Bibliog by Beaumont NEWHALL. Catalog by Dorothy C.MILLER and Ernestine M.FANTL. New foreword by Robert ROSENBLUM.

Description: A Museum of Modern Art Book. Reprint of work published 1936 (See 0009210) and reprinted 1966 (See 0005617), 1975 (See 0003549).
Rosenblum's new text outlines his enthusiasm for Barr's original 1936 volume and its subsequent publishing history.
200,202,218,247(1 illus) Henry Moore.
See 0009210 for annotation.

0022704

Author/Editor: LENART Camelia

Publisher: University of Albany

Place Published: Albany, New York

Year: 2009

Date & Collation: c.2009. 19pp.Endnotes.

Description: PhD thesis and conference paper challenging the idea that Martha Graham was an unknown artist to her audience and its intellectual circles, during her first European tours; and analyses why and how artistic friendships and collaborations happened, demonstrating that the American-British dialogue between dance, acting, writing and sculpture was not a coincidence, but a major cultural development. Graham toured Europe in the 50s and 60s, culminating with a special gala in Covent Garden in 1976, attended by the Queen Mother, John Gielgud and Moore. 12-16 examines Graham's relationship with Moore. They first met in New York in 1946 at the installation of his retrospective exhibition. LENART writes that Moore's presence in New York was also a combination of British cultural diplomacy in the USA and of his personal artistic ties and connections on both sides of the Atlantic. Reference to support from the British Council; Kenneth Clark; Dorothy Miller; Curt Valentin; Alfred and Margaret Barr; Dorothy and Leonard Elmhirst; Alexander Calder; René d'Harnoncourt; Nelson Rockefeller; Robin Howard; Bob Cohen. Graham and Moore are recalled to have talked about the sense of space in sculpture and modern dance. LENART writes that both artists reinvented the role of horizontal space as no dancer before used the floor the way that Graham did and in a similar manner Moore created his 'reclining figures'". Moore was invited to The Place (School of Contemporary Dance in London) and performances of the Contemporary Ballet Trust. In 1067 Moore became a member of the board of the London Contemporary Dance Theatre together with Martha Graham and John Gielgud. Reference to correspondence between Moore and Graham."

0019436

Publisher: Dallas Museum of Art

Place Published: Dallas

Year: 2001

Date & Collation: Folder containing eight press releases dated 7 Feb 2001.

Description: 1. Henry Moore, sculpting the 20th century. 1pp.
2. Exhibition Fact Sheet. 3pp.
3. Abridged Object List. 6pp.
4. Calendar of Events. 3pp.
5. Dallas Museum of Art Presents First Major Henry Moore Retrospective in Nearly 20 Years. 5pp.
6. Dallas Museum of Art Schedule of Exhibitions.
7. Biography: Dr. John R. Lane.
8. Biography: Dr. Dorothy Kosinski.
A range of other ephemeral publications were issued in connection with the exhibition (See 0019295) including private view cards, leaflets, Education Programs publicity, a Walking Sculpture map of public art in Dallas, and other publicity.

0019628

Author/Editor: ZEEBLE Bill.

Publisher: Kera Unlimited

Year: 2001

Date & Collation: 3pp.

Description: Printed 3 January 2002 from Internet www.publicbroadcasting.n. Text of a 27 February 2001 broadcast about Henry Moore: sculpting the 20th century (See 0019295) by Kera 90.1 reporter Bill Zeeble in Dallas. Also features the words of Anita Feldman Bennet, John Farnham, Dorothy Kosinski, and Mary Moore.

0019357

Publisher: Dallas Museum of Art

Place Published: Dallas

Year: 2001

Date & Collation: 4pp(4 illus).

Description: Printed from Internet www.dm-art.org on 2 May 2001. List of courses, discussions, films, workshops, and other events, many for children, on the occasion of the exhibition Henry Moore: sculpting the 20th century (See 0019295). A selection:
Mary Moore and David Finn: Conversation: Memories of Henry Moore: father and friend. 27 February 2001.
Dorothy Kosinski. Gallery Talk: Henry Moore: sculpting the 20th century. 28 February 2001.
Dallas Black Dance Theatre. Dance Performance. 1 April 2001.
David Mitchinson, Richard Andrews, Peter Walker, Rachel Whiteread. Symposium and Panel Discussion. 7 April 2001.
Gail Thomas, Ray Nasher, Richard Gluckman, Michael Auping. Panel Discussion: Henry Moore in Dallas. 7 April 2001.

0023149

Author/Editor: VEASEY Melanie

Place Published: High Wycombe

Year: 2014

Date & Collation: iii.222pp.Illus.Appendix.Bibliography.

Description: Thesis submitted for MA of Garden History in the School of Humanities, University of Buckinghamshire, September 2014 (blue bound). Passing reference to Moore: i in the Abstract, 11 and 16 in the Introduction. 20 VEASEY lists Moore's works that she focused on for their unique contributions to the aesthetic changes of the century: Recumbent Figure 1938 bronze (LH 184) at Bentley Wood, Sussex; Memorial Figure 1945-46 Horton stone (LH 262) at Dartington Hall, near Totnes, Devon; Three Standing Figures 1947-48 Darley Dale stone (LH 268) at Battersea Park, London; Large Reclining Figure 1984 bronze (LH 192b) Perry Green, Hertfordshire; King and Queen 1952-53 bronze (LH 350) at Glenkiln, Dumfries. Chapter One - Bentley Wood and Dartington Hall: 26-37 Moore and Recumbent Figure 1938 in relation to landscape architect Christopher Tunnard; architect Sergé Chermayeff's modernist home at Bentley Wood; position at the end of a paved terrace, near an outdoor five bay window frame conveyed the sense of an indoor room; Moore's biographer John Russell; conscious and Jungian unconscious; photographer Gordon Cullen; Kenneth Clark Civilisation exhibition 2014. VEASEY describes Bentley Wood as a formative experience for Moore. "It defined the criteria by which he went on to assess the future placements of his landscape sculptures: their integrity with the landscape, their simplicity of display, their elevation and their ability to mediate the viewer's relationship with the landscape." Illus of Moore with Reclining Figure 1929 Brown Horton stone (LH 59); Recumbent Figure 1938 in-situ from different vistas at Bentley Wood. 41-51 Moore and Memorial Figure 1945-46 in relation to collectors Dorothy and Leonard Elmhirst; experimental rural art colony; World War II; celebration of the life of Christopher Martin, the first Arts Administrator of Dartington Hall; broad stone steps designed by Percy Cane; the site and perspective of the sculpture, within the landscape. At the time of installation Moore commented that he wanted Memorial Figure "to convey a sense of permanent tranquility, a sense of being from which the stir and fret of human ways had been withdrawn, and all the time I was working on it I was very much aware that I was making a memorial to many generations of men who have engaged in a subtle collaboration with the land." Illus of Memorial Figure 1945-46 ; from different view points; and the dedication for Christopher Martin. Chapter Two - The open air exhibition of sculpture at Battersea Park, 1948: 55, 58, 61, 72, 74, 78 Moore and Three Standing Figures 1947-48 Darley Dale stone in relation to: Patricia Strauss, Chief Officer of the London County Council Parks Committee, who proposed the idea of an open-air exhibition, to show the world modern trends in sculpture. Her idea was initially viewed too radical. Her eventual achievement in demystifying a previously elite form of art and making it accessible to the middle and working classes; map of Battersea Park; Moore's concern about delivering the work in time for the opening, given restriction on materials and tools; the "far seeing gaze" of the sculpture; Malliol; polarised reaction to Moore's work; controversial acceptance of Three Standing Figures by London County Council as a gift in 1948; World War II and the Spanish Civil War; 71, 72, 76 illus of Three Standing Figures 1947-48 with Strauss and Aneurin Bevan. Moore confessed that 'without the war... I would have been a far less sensitive and responsible person, the war brought out and encouraged the humanist side of one's work" Chapter Three - Henry Moore (1898-1986): 86-142 VEASEY writes on the history and development of Hoglands, meadows and sheep fields that the Moore's acquired, eventually comprising a seventy-two acre estate; working in a rural environment; immense vision behind sculptural ideas; Underground sketches from World War II; Roger Berthoud; Moore's preference to shape the female form; Malcolm Woodward and Moore's techniques; Moore, a self-declared atheist and his ecclesiastic commissions; the Moore's influential network of friends, artists, curators and patrons who visited Perry Green; Frank Farnham; formation of the Henry Moore Foundation; renovation of the garden by Yvonne Innes, under Mary Moore's guidance; Irina's vision for the garden; the small foundry in the meadow; Stephen Spender; swimming pool; colour of the sculptures against the seasonal leaf change in the garden; the elevated mound Moore constructed; the King and Queen 1952-1953 at Perry Green and the Glenkiln Estate; theft of Standing Figure 1950 (LH 290) from Glenkiln. Illustrated throughout, including maps of the estate and photographs of Hoglands; Henry and Irina Moore on their wedding day 27 July 1929; views across the estate; Tube Shelter Perspective: The Liverpool Street Extension) 1941 drawing (HMF 1801); Moore working on Reclining Figure: Festival 1951 bronze (LH 293); Henry and Mary Moore 1940s; Moore's assistants; Irina's montage of Henry's sketches; Irina in the garden; garden planting; Sundial 1965 bronze (LH 528); sculptures in the grounds at Perry Green. 143 passing reference to Moore in relation to Elizabeth Frink. 193-199 reference to Moore in the Conclusion.

0022697

Publisher: Musee Rodin

Place Published: Paris

Year: 2010

Date & Collation: 3pp.

Description: Study day 26 November 2010 related to the exhibition - Henry Moore, L'Atelier - Sculptures et Dessins (15 October 2010 - 27 February 2011). Description and exhibition programme with speakers: Hélène PINET, Chris HICKEY, Christa LICHTENSTERN, Dorothy KOSINSKI, Anita FELDMAN, Mary MOORE. (See 0021934).

0023977

Author/Editor: SUTTON Robert James

Publisher: University of York

Place Published: York

Year: 2014

Date & Collation: 294pp.