The Drawings of Henry Moore.

0003064 MOORE Henry;Statements (Drawings of Henry Moore, 1977);WITHROW William J.;READ Norman;Catalogues (Drawings of Henry Moore, 1977);Moore (Henry), The Drawings of. (1977);London 1978.;Toronto;Drawings;Life Drawings;Copies of works of art;Natural forms;Influences;War Drawings;Coal Mine Drawings;Blackness;Rubens, Peter Paul;Cézanne, Paul; Art Gallery of Ontario; Idea Books; Leeds School of Art; Royal College of Art; Paris 1920s; Drawing theory; Hampstead in the 1930s; Ideas for West Wind Relief, 1928 drawing; Study for Leeds Reclining Figure, 1928 drawing; Transformation drawings; Drapery; War Artists' Advisory Committee; Castleford; Wheldale Colliery; Crowd Looking at a Tied-Up Object, 1942 drawing; British Museum; Italy 1920s; Primitive art; African art; Oceanic art; Mexican ancient art The Drawings of Henry Moore. Alan G Wilkinson Tate Gallery London Published in collaboration with the Art Gallery of Ontario for the exhibition at the Art Gallery of Ontario (Toronto) 5 Nov-3 Dec 1977 and Tate Gallery (London) 28 June-28 Aug 1978. Distributed in France and Italy by Idea Books (Paris and Milan). The exhibition was also shown in four venues in Japan between 21 January and 31 May 1978. For details see 0003065. 261 Drawings 1921-1977 are reproduced as small black-and-white illustrations, with 16 colour plates. There are over 100 additional photographs depicting sculpture, family snapshots, source materials and the work of other artists. The short Foreword takes the form of acknowledgements, and the text by the exhibition organizer Alan Wilkinson, who selected the exhibits in collaboration with Henry Moore, is in the form of introductory essays and catalogue in thematic groupings:
Life Drawing.
(Moore's traditional academic training, and his awareness of importance of studying the human figure. Leeds School of Art, Royal College of Art, influences, portraiture, Paris 1920s, Drawing theory).
Copies of Works of Art.
(Moore's copies of works of art from Paleolithic times to Cézanne. Most of them date between 1921 and 1926).
Drawings 1921-1940.
(Mostly studies for sculpture. Few great sculptors have left through their drawings such a complete and extensive record of the genesis of their sculptural ideas." Modifications during the translation into sculpture influences of other artists and movements. Hampstead in the 1930s. Influence of Natural objects. Ideas for West Wind Relief 1928 drawing; Study for Leeds Reclining Figure 1928 drawing. Transformation drawings).
Wartime Drawings 1940-42.
(Moore in Kent at the outbreak of war; discovery of the shelterers at Belsize Park; Shelter Sketchbooks; working methods; move to Much Hadham; Drapery; colour; War Artists' Advisory Committee; influence on his subsequent work. "Among the supreme achievements of English graphic art." Coal Mine Drawings 1941-1942. Return to Castleford Wheldale Colliery. "More factual and documentary than the visionary shelter drawings" their latent influence noticed in 1970s prints of "dark forms emerging out of depth and blackness").
Drawings 1942-77.
(Return after war to studies for sculpture and subsequent dependence on maquettes. Renewal of interest in drawing for pleasure and towards printmaking Crowd Looking at a Tied-Up Object 1942 drawing).
Copies of Works of Art.
(Additional text analyzing copies from Moore's notebooks and discussing their original sources. British Museum books Italy 1920s Peter Paul Rubens Primitive art African art Oceanic art Mexican ancient art).
There is a commentary on each exhibit and Wilkinson's text incorporates statements by Henry MOORE both from published sources and from conversations with the artist.
References are made throughout this publication to Alan Wilkinson's The Moore Collection in the Art Gallery of Ontario (See 0002440)."