Henry Moore Artwork Catalogue
Welcome to the Henry Moore Archive Catalogue
Search over 24,000 publications on Henry Moore alongside invaluable exhibition catalogues, press coverage, film and audio recordings. Dating from 1914, almost all of these references to Moore are available in the Henry Moore Archive. Please contact us if you have any questions or wish to visit.
You can search for words or phrases across all publications by using the search box above, for example: “Florence 1972”. If you want to narrow your search or add more detail, such as Author or Title of Publication, you can use the advanced search.
Refine results allows you to filter your search and can be found below.
Romanized: Kaigai chogenjitsushugi sakuhinshu.
Catalogue for the Exhibition of Work by Foreign Surrealist Artists held in June 1937 and sponsored by Mizué. 125 works by 41 artists. Consists of a short introduction to Surrealism, which makes no mention of Moore; illustrations of the exhibits; brief biographies with a seven-line entry for Moore; chronology, bibliography and exhibition list/index.
Exhibits and plates 88-90(3 illus) Henry Moore: Composition, 1932 dark African wood; Reclining Figure, 1929 alabaster; Two Heads, c.1931 Cumberland alabaster (The last a work by Hepworth - Incorrectly attributed here to Moore).
I Surrealisti 1989 cites venue as Nippon Salon.
Contains an introduction by Naum Gabo entitled The Constructive Idea in Art, and sections on Painting, Sculpture, Architecture, Art and Life, each with original contributions by artists.
Plates 9-11 for the chapter on Sculpture show LH 161 (from front and back) and LH 174. Plate 4 for J.D. Bernal's "Art and the Scientist" shows LH 145.
p.118: two quotations by Moore, which are reprinted in Henry Moore on Sculpture (See 0005627).
"1. I dislike the idea that contemporary art is an escape from life. Because a work does not aim at reproducing the natural appearance it is not therefore an escape from life, it may be a penetrating into reality; not a sedative or drug, not just the exercise of good taste, the provision of pleasant shapes and colours in a pleasing combination, not a decoration to life, but an expression of the significance of life, a stimulation to greater effort in living.
2. Architecture and sculpture are both dealing with the relationship of masses. In practice architecture is not pure expression but has a functional or utilitarian purpose, which limits it as an art of pure expression. And sculpture, more naturally than architecture, can use organic rhythms. Aesthetically architecture is the abstract relationship of masses. If sculpture is limited to this, then in the field of scale and size architecture has the advantage; but sculpture, not being tied to a functional and utilitarian purpose, can attempt much more freely the exploration of the world of pure form."
Reprinted 1971 (see 0004456).