Humanising the Landscape: The Outdoor Placement of Twentieth-century Sculpture and its Aesthetic Impact Upon the Viewer

0023149 VEASEY Melanie; Recumbent Figure, 1938 green Hornton stone; Memorial Figure, 1945-1946 Hornton stone; Dartington Hall; Bentley Wood; Three Standing Figures, 1947-1948 Darley Dale stone; Battersea Park; Large Reclining Figure, 1983 bronze; Perry Green; King and Queen, 1952-1953 bronze; Glenkiln; Tunnard, Christopher; TUNNARD Christopher. Gardens in the Modern Landscape; Chermayeff, Serge; Chermayeff, Serge: house in Sussex; RUSSELL John; CLARK, Kenneth; Reclining Figure, 1929 brown Hornton stone; ELMHIRST Dorothy; World War Two; Martin, Christopher; Strauss, Patricia; London County Council; Spanish Civil War; Bevan, Aneurin; Hoglands; Moore, Irina (née Radetzky); Moore, Mary (daughter); BERTHOUD Roger; Woodward, Malcolm; FARNHAM Frank; Stephen Spender; ; Tube shelter perspective: The Liverpool Street Extension, drawing 1941; Reclining Figure: Festival, 1951 bronze; Sundial, 1965-1966 bronze; Frink, Elisabeth; thesis Humanising the Landscape: The Outdoor Placement of Twentieth-century Sculpture and its Aesthetic Impact Upon the Viewer Melani Veasey High Wycombe 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