Henry Moore Artwork Catalogue
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45 Preview: Comment - article on Tate Britain's tribute to Moore. His second solo show at the Leicester Galleries, London 1931 brought a "storm of execration". People recoiled from "Moore's willingness to deal with the darker forces of the human psyche, those of Eros and Thanatos - death and the erotic. They were averse to his presentation of the human body as anxious, anguished and instinctual". In the catalogue essay, Chris STEPHENS wrote that Moore survived a gas attack in the First World War, he was one of 52 out of a battalion of 400 that survived. STEPHENS argued that Moore's work "spoke of and to the crisis of civilisation that was felt to have followed the war, as well as being close to the fresh ideas of the body and sex supported by the new vogue for psychoanalysis". Illus of Composition 1932 African Wonderstone, (LH 119). Draws attention to shock of early critics but criticism by later critics, e.g. Guardian critic, Jonathan Jones. Final comparison to Picasso and reference to a story about Picasso seeing Moore's work.
77 advertisement for a book for sale, Henry Moore Prints and Portfolios.
Additional page - advertisement for exhibition at Osborne Samuel, Henry Moore 14-30 April 2010. Illus of Two Women Seated on Beach 1984 (CGM 719).
Bib. Number0022596
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Author/EditorWILSON Simon
PublisherRA Magazine
Place PublishedLondon
Year2010
Date & Collation2010 (Spring) (106) 45,77 (2 illus)
LanguageEnglish
More InformationCopy of three pages from RA magazine. 45 Preview: Comment - article on Tate Britain's tribute to Moore. His second solo show at the Leicester Galleries, London 1931 brought a "storm of execration". People recoiled from "Moore's willingness to deal with the darker forces of the human psyche, those of Eros and Thanatos - death and the erotic. They were averse to his presentation of the human body as anxious, anguished and instinctual". In the catalogue essay, Chris STEPHENS wrote that Moore survived a gas attack in the First World War, he was one of 52 out of a battalion of 400 that survived. STEPHENS argued that Moore's work "spoke of and to the crisis of civilisation that was felt to have followed the war, as well as being close to the fresh ideas of the body and sex supported by the new vogue for psychoanalysis". Illus of Composition 1932 African Wonderstone, (LH 119). Draws attention to shock of early critics but criticism by later critics, e.g. Guardian critic, Jonathan Jones. Final comparison to Picasso and reference to a story about Picasso seeing Moore's work.
77 advertisement for a book for sale, Henry Moore Prints and Portfolios.
Additional page - advertisement for exhibition at Osborne Samuel, Henry Moore 14-30 April 2010. Illus of Two Women Seated on Beach 1984 (CGM 719).