Henry Moore: Reflections

0023556 Henry Moore: Reflections Maxwell Davidson Gallery New York

Foreword by Maxwell Davidson IV: recollection of first seeing sculpture by Henry Moore. 10-page essay on Moore by David Mitchinson.  Brief history of Moore's association with New York, beginning with Alfred Barr's purchase of Two Forms for the Museum of Modern Art in 1936, and ending with the 2008 exhibition of Moore's work in New York Botanical Garden.  Discusses Moore's relationship with Curt Valentin. Mentions Moore's early life in Yorkshire, and the affinity between the landscape there and Moore's later sculpture, particularly the Reclining Figure: Lincoln Center and Adel Crag. Influence of Alice Gostick. Moore's Roll of Honour for Castleford Secondary School. Impact of Moore's experience in the First World War on his later work. Leeds School of Art and the Castleford Peasant Pottery Group. Education at the Royal College of Art and early exposure to London's museums, especially the British Museum. Cycladic and pre-Colombian art. Patronage of Sir William Rothenstein. Marriage to Irina Radetsky. Life in Hampstead, in the "nest of gentle artists". West Wind commission (1928).  Early solo exhibitions at Warren Gallery and Leicester Galleries. Mixed critical reception: Morning Post wrote that "the cult of ugliness triumphs at the hands of Mr Moore."  Teaching at Chelsea School of Art. Founding of Unit One. Politics and Spain: Spanish Prisoner (CGM 1) lithograph. Carving, mostly in native stone and wood. Development of opening out the figure. Reclining figure as the most recognisable of Moore's sculptural themes. Beginning to model and cast, initially in lead. Move to Hoglands. Bomb Shelter Drawings for the War Artists Advisory Committee. Retrospective at Temple Newsam in 1941. Madonna and Child commission for St. Matthew's, Northampton. Awards, and honours: Companion of Honour, Order of Merit, Erasmus Prize, Goslar Prize. Forte de Marmi. UNESCO Reclining Figure. Henry Moore Foundation set up.

Images: pp. 11; 12: biographical images by John Hedgecoe of Moore in Perry Green. p. 17: Reclining Figure 1930 (LH 85); p.19 Reclining Figure 1939 (LH 208); p. 21: Family Groups 1944 (HMF 2231); p.23: Family Group 1945 (LH 259); p.25: Family Group 1946 (LH 265); p.27: Two Women Bathing a Child 1948 (HMF 2501); p.29: Family Group 1949 (HMF 2532); p.31: Standing and Reclining Figures 1950 (CGM 15); p.33: Rocking Chair No. 2 1950 (LH 275); p.35: Rocking Chair No. 3 1950 (LH 276); p.37: Rocking Chair No. 4: Miniature 1950 (LH 277); p.39: Standing Figures 1950 (CGM 14); p.41: Standing Figure 1950 (LH 290); p.43: Working Model for Time/Life Screen 1952 (LH 343); p.45: Seated Figure 1952-53 (LH 347); p.47: Reclining Figure No. 2 1953 (LH 329); p.49: Mother and Child Against Open Wall 1956 (LH 418); p.51: Maquette for Figure on Steps 1956 (LH 426); p.53: Draped Seated Figure Against a Curved Wall 1956-57 (LH 423); p.55: Maquette for Head and Hand 1962 (LH 505) (Maquette for Moon Head); p.57: Divided Head 1963 (LH 506); p.59: Mother and Child: Arms 1976-80 (LH 698); p.61: Reclining Mother and Child I 1979 (LH 778); p.63: Working Model for Draped Reclining Figure 1976-79 (LH 705); p.65: Maquette for Draped Reclining Mother and Baby 1981 (LH 820); p.67: Mother and Child on Lap 1985 (LH 870). p.68: HM in garden at Hoglands, with LH 275: Roloff Beny.

Appendix. pp.70-78: Selected exhibitions of Henry Moore.