Henry Moore: an illustrated biography; with photographs by Gemma Levine.

0000430 Monographs (Henry Moore: an illustrated biography);Photoportraits (Levine);Education;Dawes, T.R.;Gostick, Alice;World War 1.;Leeds student life;London student life;Tip cat;Italy 1920s;Spain 1936;Paris 1920s;Dalby, Arthur;Wainwright, Albert;Coxon, Raymond;Sadler, Michael;Hepworth, Barbara;Moore, Raymond Spencer (father);Moore, Mary (mother);Cambrai, Battle of;Rothenstein, William;Epstein, Jacob;West Wind, 1928-1929 Portland stone;Moore, Irina (née Radetzky);Hampstead in the 1930s;Meadows, Bernard;Assistants (Bernard Meadows);Levine, Gemma;Moore (Henry): an illustrated biography; Castleford; Adel Rock; Methley Church; Cardiff; Castleford Peasant Pottery Group; Royal College of Art; British Museum; National Gallery; Stonehenge; Kent; Unit One; International Surrealist Exhibition 1936; War Artists' Advisory Committee; Much Hadham; Coal Mine Drawings; Madonna and Child, 1943-1944 Hornton stone; Henry Moore Foundation Henry Moore: an illustrated biography; with photographs by Gemma Levine. William Packer Weidenfeld and Nicolson London 8-25 Castleford 1898-1914.
(Childhood in small industrial town in north of England, ambitious father, memories of his mother, family life, childhood games like tip cat, school and first art education through Thomas Dawes and Alice Gostick, surrounding countryside; Adel Rock, Methley Church).
26-35 The Great War 1914-1918.
(Qualification as teacher. Enlistment in 1917, army training, active service in France, gassed at Battle of Cambrai, hospitalisation in Cardiff before promotion to lance-corporal instructor in bayonet drill. Brief return to teaching in Yorkshire).
36-57 Leeds and London 1919-1924.
(Studying at Leeds College of Art and Castleford Peasant Pottery Group with Alice Gostick, Arthur Dalby, Albert Wainwright and Raymond Coxon. Met Michael Sadler and discovered Roger Fry's Vision and Design. Followed Barbara Hepworth with scholarship to Royal College of Art in 1921. Living at 58 Sydney Street, visiting British Museum, National Gallery, Stonehenge outing. Various lodgings with Raymond Coxon. Understood value of academic grounding in drawing and sculpture, in face of his interest in the primitive. Importance of life drawing. Support of William Rothenstein. Awareness of Gaudier, Brancusi, Epstein).
58-71 Italy and France 1924-1925.
(Responsibilities at R.C.A. gave way to scholarhip in Italy, which supplemented his regular visits to museums of Paris. Quotes letters to Rothenstein on Italian art).
72-79 Teacher and Artist 1925-1929.
(Part-time teaching at R.C.A. at odds with sculpture professors but supported by Rothenstein. Exhibiting in group shows from 1924 and one man from 1928. Quotes press reviews of exhibitions, and comments on London Underground commission).
80-94 Marriage and Controversy 1929-1931.
(Marriage to Irina Radetzky, settles in Hampstead, centre of much activity in the arts. Exhibitions at home and abroad, and press comment. Resignation from Royal College of Art).
95-110 Artist and Teacher 1932-1939.
(First Head of Sculpture at Chelsea School of Art. Bought cottages at Barfreston and later at Burcroft in Kent and worked in open air rather than in a studio. Began photographing his work. Bernard Meadows his first assistant 1936-1940. Membership of Unit One and other groups. Abstraction, International Surrealist Exhibition 1936, visit to Spain, political comment. Resigned from Chelsea at outbreak of war).
111-119 War Artist 1939-1942.
(The Moores moved back to London when Kent became a restricted area. Discovered shelterers at Belsize Park, and carried out drawings for War Artists' Advisory Committee. Move to Much Hadham. Coal Mine Drawings in Yorkshire.
120-146 The Established Artist 1942-1977.
(Northampton Madonna and Child, 1943-1944 Hornton stone, Moore as a public figure, committee man and recipient of honours and prizes. Major exhibitions throughout the world).
142-172 Apotheosis.
(Major retrospectives, life style at Much Hadham, large commissions for public buildings and sites, establishment of the Henry Moore Foundation).
In addition to Gemma Levine's photographs, the work is illustrated by archive photographs, and reproductions of works by Moore. Quotations from the artist, and published works appear extensively throughout the book.