Henry Moore.

0011076 Catalogues (Henry Moore. 1988 Royal Academy of Arts);Moore, Henry = 1988 Royal Academy of Arts;London 1988.;Wilkinson, Alan G.;Heal, Ivor;Commissions;SACKVILLE-WEST Edward. The Rescue;Sculpture;Drawings;Coonan, Rory;Photoportraits (Coonan);Yorkshire Sculpture Park;Meadows, Bernard;Ruskin, John; Salomon Brothers; Henry Moore Foundation; GOODMAN Arnold; GUTFREUND John H.; DE GREY Roger; CORK Richard; West Wind, 1928-1929 Portland stone; Recumbent Figure, 1938 green Hornton stone; Madonna and Child, 1943-1944 Hornton stone; Family Group, 1948-1949 bronze; Memorial Figure, 1945-1946 Hornton stone; Reclining Figure: Festival, 1951 bronze; Time-Life Screen, 1952-1953 Portland stone; Draped Reclining Figure, 1952-1953 bronze; Wall Relief, 1955 brick; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Reclining Figure, 1963-1965 bronze; Nuclear Energy, 1964-1966 bronze; COMPTON Susan; Promethee; FULLER Peter Henry Moore. Royal Academy of Arts London Sponsored by Salomon Brothers and the Henry Moore Foundation. Paperback catalogue published in association with Weidenfeld and Nicolson (See also 0011077).
6 GOODMAN Arnold. Sponsor's preface.
(Originally intended to celebrate Moore's 90th birthday this exhibition became a memorial. Chairman of the Henry Moore Foundation acknowledgements to Royal Academy and to Salomon Brothers).
7 GUTFREUND John H. Sponsor's preface.
(Chairman and Chief Executive Officer of Salomon Brothers Inc. expresses honour in presenting the exhibition and acknowledgement to the Henry Moore Foundation and associates).
9 DE GREY Roger. Foreword.
(President of the Royal Academy of Arts mentions Moore's support for the exhibition and the work of the Royal Academy of Arts. Acknowledges selection of sculpture by Bernard Meadows, drawings by Alan Wilkinson, design by Ivor Heal and coordination by Susan Compton).
12-13 Henry Moore: an introduction.
(Outline of Moore's fame and the chronological arrangement of the exhibits).
14-26 CORK Richard. An art of the Open Air: Moore's major public sculpture.
(Quotes texts by Moore in describing the artist's reserved response to commissions, and discusses West Wind, 1928-1929 Portland stone; Recumbent Figure, 1938 green Hornton stone; Northampton Madonna and Child, 1943-1944 Hornton stone; Family Group, 1948-1949 bronze; Dartington Memorial Figure, 1945-1946 Hornton stone; Reclining Figure: Festival, 1951 bronze; Time-Life Screen, 1952-1953 Portland stone and Draped Reclining Figure, 1952-1953 bronze; Bouwcentrum Wall Relief, 1955 brick; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Lincoln Center Reclining Figure, 1963-1965 bronze; Nuclear Energy, 1964-1966 bronze. These and other works are described with quotations. Related works are mentioned, as are some commissions which were abandoned or refused by Moore. Most of the later public works could not be described as commissions in the sense of making a sculpture specifically for a given space. One of a number of casts of large bronzes was used for the location. Commissions fed Moore's creative imagery, and the large scale of the West Wind, 1928 Portland stone gave him the confidence to undertake subsequent projects).
27-36 COMPTON Susan. Drawing and Sculpture: a timeless art for our time.
(Moore's prodigious output, and a discussion of his drawings, sculpture and general artistic and intellectual development from the 1920s onwards. Incorporates quotations from Moore's published statements, and refers to works on display. Outlines Moore's awareness of life drawing, Renaissance art, primitivism, natural forms, materials, Surrealism, Internal and External forms and politics. His career as a war artist is described, followed by classical references in The Rescue (See 0008810) and Prométhée (See 0008261). During the 1960s Moore did less drawing, his art was out of favour with young artists, but his reputation grew. Moore returned to drawing for pleasure in later part of his career).
37-44 FULLER Peter. Henry Moore: an English romantic.
(Moore represents the British romantic tradition despite the appearance of his early carvings. The sculptor's outlook at the time is seen as a high aesthetic revival of English landscape concepts, and parallels are seen in his sculpture and the theories of Ruskin. His experiments in form and the notion of transformation are described as romantic rather than modernist. The Shelter drawings, "among the finest ever produced in Britain", are almost a step backwards, and the aloofness of his immediate post-war sculpture recalls the English Romanesque. The classical overtones of his public art removed him from the modern movement, and led to a reaction away from his influence by younger sculptors. Fuller sees Moore's art of the 1960s however as the "truly great and original work of this era". In the Mother