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0007185

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1958

Date & Collation: 27 mins.Black and white.Sound.

Description: Written and produced by John READ. Narration spoken by Sir Ralph Richardson. Music by Humphrey Searle. Photographed by Walter Lassally. Moore is seen at work with his assistants at Much Hadham, and there are views of Sculpture on the estate. Seen on film are Draped Torso, 1953 bronze; Draped Reclining Figure, 1952-1953 bronze; Falling Warrior, 1956-1957 bronze and other works. A Maquettes section shows Family Groups, Seated Figures, Upright Figures, and Reclining Figures. There is film of Moore drawing with commentary and quotations from Moore on the subject, including the importance of the Human figure. There are sections on L.C.C. Open Air exhibition (See 0007208) showing Warrior with Shield, 1953-1954 bronze; some views of Primitive sculpture; film at Glenkiln showing Upright Motive No. 1: Glenkiln Cross, 1955-1956 bronze, King and Queen, 1952-1953 bronze and Standing Figure, 1950 bronze. There is also film of Harlow Family Group, 1954-1955 Hadene stone in situ. Other aspects touched upon include Landscape influence and Moore's use of Natural objects. The film ends with Moore carving Upright Figure, 1956-1960 elm wood, a sequence which opens John Read's 1967 film Henry Moore: one Yorkshireman looks at his world (See 0005603). Also screened by C.B.C. in 1962 on The Lively Arts (See 0010783).

0002992

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1978

Date & Collation: 52 mins.Colour.Sound.Written, produced and narrated by John READ.

Description: Produced in association with R.M. Productions (Munich). Moore is interviewed at Much Hadham by John Read who introduces the artist and outlines his career. Sources of inspiration surrounding Moore's desk are explained and discussed, including Cézanne's Bathers and Moore's sculptural versions of the figures (Three Bathers: After Cézanne, 1978 bronze), Dürer's Portrait of Conrad Verkell; and works by Seurat and Rembrandt. Moore shows pages from a sketchbook influenced by Rembrandt's drawing techniques. Moore's pre-war drawings are shown, with comments by the artist on the science of drawing. The War Drawings are explained by Moore: his notes, sketchbooks and larger drawings as a war artist. The initial discovery of the Reclining Figures and perspective of tunnels developed into an interest in specific figures and attitudes and the use of drapery. These are related to works by Masaccio and Mantegna. Coal Mine Drawings are shown with male figures in action in darkness. Post-war works are outlined: Figures in Settings, influence of country in hedgerow and tree sketches and sheep. Moore's printmaking activities are seen, with the appearance of Alistair Grant on etchings and Stanley Jones describing lithographic processes. Brief general views of Moore's studios and his drawings of his grandson complete the film.

0008230

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1951

Date & Collation: 26 mins.Black and white.Written and produced by John READ.

Description: Music composed by William Alwyn, commentary spoken by Bernard Miles. Moore's art is introduced to views of his sculpture and film of him at work. His early career and influences are noted, with film of primitive sculpture in the British Museum. Moore speaks into the camera on the immediacy of Primitive art. He explains the qualities of Natural forms: the strong slow structural rhythm of stone; the living, thin, hollow form of the shell; and the structural strength of bone. There are views, with commentary, of life drawings, War Drawings and maquettes. Seen in situ are Three Standing Figures, 1947-1948 Darley Dale stone in Battersea Park; Madonna and Child, 1943-1944 Hornton stone in Northampton; Memorial Figure, 1945-1946 Hornton stone at Dartington; Family Group, 1948-1949 bronze at Barclay School, Stevenage. Moore is seen drawing in his notebook, with quotations on the creative process. Reclining Figure: Festival, 1951 bronze is seen being produced from drawing and maquette through plaster and casting process, to the finished work in the open air at Much Hadham.

0004215

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1973

Date & Collation: 48 mins.Colour.Sound.Written and produced by John READ.

Description: A B.B.C. T.V., Time-Life and R.M. Productions co-production. Narrator Tony Church. A version exists with French commentary and voice-over. Film of sculpture at Florence 1972 (See 0004285) which opens with views of Carrara quarries, and incorporates interview statements by Henry MOORE. Describes the 1972 exhibition, its siting, Moore's links with Florence, the numbers of visitors, and public reactions. Moore comments on his 1925 visit to Italy at the time when he was more concerned with primitive sculpture than with Classical and Renaissance art. The sculptor is also interviewed on the Human figure as the basis of our understanding of form, his views on the basic sexuality rather than eroticism in his work, the use of maquettes, Stonehenge and the traditional nature of his art. Works given attention with commentary in the film include: King and Queen, 1952-1953 bronze; Falling Warrior, 1956-1957 bronze; Draped Reclining Figure, 1952-1953 bronze; Family Group, 1948-1949 bronze; Interlocking Two Piece Sculpture, 1968-1970 white marble; Atom Piece (Working Model for Nuclear Energy), 1964-1965 bronze; Three Piece Sculpture: Vertebrae, 1968-1969 bronze; Large Square Form with Cut, 1969-1971 Rio Serra marble; Locking Piece, 1963-1964 fibreglass; Large Arch, 1963-1969 fibreglass.

0004214

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1973

Date & Collation: 49 mins.Colour.Sound.Written and produced by John READ.

Description: B.B.C. T.V. Time-Life and R.M. Productions co-production. Additional narration spoken by Tony Church. A version exists with French commentary and voice-over. Moore's sculptures are seen on his estate at Much Hadham to an introductory commentary on his sculptural forms. Moore is seen drawing sheep, and he describes their ancient, Biblical quality, and how he came to understand the animals more from a period of drawing them each day. Moore gives his views on other animals seen at London Zoo: Guy the Gorilla, Elephants, Rhinoceroses, Gibbons. The Elephant Skull is seen and Moore describes how he drew directly on the etching plate. In Hoglands the sculptor comments on a dozen works in his art collection, ranging over the Romanesque marble pulpit, Greek figurine, Medieval earthenware pot, Mexican ancient art, African mask, Middle Eastern marble lynx and Eskimo whalebone figure. Paintings, drawings and sculpture by Rodin, Cézanne, Degas and Courbet are discussed and other works are seen briefly. Moore then comments on half-a-dozen of his own sculptures: Reclining Woman, 1927 cast concrete; Composition, 1931 blue Hornton stone; Three Points, 1939-1940 bronze; Helmet Head No. 1, 1950 bronze; Maquette for Mother and Child, 1952 bronze; Two Piece Points: Skull, 1969 fibreglass. Moore's techniques are described, and he affirms that material is secondary to the idea. Works are seen at Glenkiln in Scotland.

0005603

Author/Editor: READ John

Publisher: British Broadcasting Corporation

Place Published: London

Year: 1967

Date & Collation: 60 mins.Black and white.Sound.Written,directed and produced by John READ.V127

Description: Commentary spoken by Robert Hardy and Henry Moore. Music composed and conducted by Herbert Chappell. Photographed by Alan Lawson 1950, Walter Lassally 1958, John Baker 1967. Moore is introduced over film of him carving Upright Figure, 1956-1960 elm wood as at end of A Sculptor's Landscape (See 0007185). A chronological sequence of film, photographs and commentary takes Moore's story from Castleford, Methley Church, Adel Rock and his Yorkshire background, through World War 1 to Leeds School of Art. Incorporates from Face to Face (See 0006953) Moore's version of the Sunday School Michelangelo story based on Vasari which decided him on the career of a sculptor. London in the 1920s outlines the controversy over the 1928 exhibition (See 0009446), his period at the Royal College of Art and the influence of his contemporaries, British Museum, and Chacmool. Hampstead in the 1930s, Kent, War Drawings, with Moore describing his discovery of the shelterers, and incorporating an extract from Out of Chaos (See 0008950). Includes in-situ film of Northampton Madonna and Child, 1943-1944 Hornton stone; Memorial Figure, 1945-1946 Hornton stone at Dartington Hall; Harlow Family Group, 1954-1955 Hadene stone; Three Standing Figures, 1947-1948 Darley Dale stone in Battersea Park. From 1951 film Henry Moore (See 0008230) also is the section on Reclining Figure: Festival, 1951 bronze. From A Sculptor's Landscape Moore is seen with Natural forms, drawing; and the importance of the Human figure/Landscape interaction is described (hitherto the painter's domain). Film in Scotland from A Sculptor's Landscape, of King and Queen, 1952-1953 bronze, Standing Figure, 1950 bronze, Upright Motive No. 1: Glenkiln Cross, 1955-1956 bronze. Section on U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble. Sequence at Much Hadham, noting the expansion of the estate, visit of group from Women's Institute, and Hermann Noack with Moore and assistants cutting plaster for casting in Berlin of Double Oval, 1966 bronze. Statements by Moore on Large Standing Figure: Knife Edge, 1961 bronze, relating it to Victory of Samothrace; and on two- and three-piece Reclining Figures. Moore is seen carving in Italy at Carrara, and comments on his obsession with Michelangelo. Film of nuclear explosions and Moore with Atom Piece (Working Model for Nuclear Energy), 1964-1965 bronze commenting on the skull and architecture analogies.
For German typescript of soundtrack see 0009697.