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0023164

Author/Editor: WARDLEWORTH Dennis

Publisher: Ashgate

Place Published: Farnham

Year: 2013

Date & Collation: xiv.215pp.Illus.Bibliography.Archives and other sources.Appendix I and 2;Index.

Description: Monograph on sculptor William Reid Dick (1878-1961). Described a s 'forgotten sculptor'. 2 Reid Dick described as semi-aristocratic, in contrast to Moore and Epstein, who both professed humble beginnings. 3 reference to Moore in relation to Herbert READ, as one of four artists that rose to international status from the 1930s. 38 Reference to Reid Dick and his contemporaries in the World War I, including Moore, Charles Wheeler, Gill, Epstein and Gaudier Brzeska. Moore was 16 in 1914. He joined the Civil Service Rifles in February 1917 and was gassed at the Battle of Cambrai in 1918. In chapter 7 The 1920s - architectural sculpture: 77 passing reference to Moore in relation to Reid Dick and Violet Manners, the Duchess of Rutland. Reid Dick was a Royal Academician, unlike Moore and Hepworth. 88 In 1927, Frank Pick from London Transport and architect Eric Gill commissioned a team of young sculptors to represent the winds on each of eight faces of the new headquarters above St James's Park underground station. The other sculptors were Eric Aumonier (1899-1974), A.H. Gerrard (1899-1998), Frank Rabinovitch (1903-1991), Allan Wyon (1882-1962) and Jacob Epstein. 98 Comparison of Reid Dick's madonnas in relation to those of Moore, Epstein, Dalou and Gill. 108-109 In chapter 8 The 1920s - the statuettes reference to Moore in relation to art critic Kineton Parkes; Moore's appointment as assistant to Ernest Cole at the Royal College; Gilbert Ledward; carving as a method; inclusion of Moore in Parke's book in a chapter subtitled 'The Young Englishmen'; 1930 saw the 'emergence of the new generation of Moore, Skeaping and Hepworth' , in contrast to the orthodox and the rebels. 149-50 in chapter 12 The 1940s - war and decline in a letter from Kenneth Clark to Moore, Clark wrote that the idea was to form an organisation which 'might be a means of getting Government to give artists proper employment.' Reference to Moore in relation to Clark, Reid Dick and the Central Institute of Art and Design (CIAD); and also in relation to a competition to assess statues on Westminster Bridge, London, in March 1947. Dobson, Epstein, Hepworth, Kennington and Wheeler were all invited to submit proposals. Epstein and Moore did not submit. 173-4 Chapter 13 The final years reference to Moore in relation to sculpture exhibition in Battersea Park organised by London County Council Parks Committee in 1948; Kenneth Clark, Patricia Strauss and Charles Wheeler; young Modernist sculptors; Moore regarded as one of Britain's leading sculptors in the 1950s; Moore's given a one-man show at the Museum of Modern Art, New York 1946; Venice Biennale 1948; retrospective at the Tate Gallery 1951. 186 passing reference to Moore in relation to Reid Dick's legacy.

0021031

Publisher: Ashgate

Place Published: Aldershot

Year: 2007

Date & Collation: .28pp.Illus.Index.

Description: Catalogue promoting new and forthcoming Ashgate and Lund Humphries titles. Contains details of Celebrating Moore" on page 20."

0021030

Publisher: Ashgate

Place Published: Aldershot

Year: 2008

Date & Collation: 40pp.Illus.Index.

Description: Catalogue promoting new and forthcoming Ashgate and Lund Humphries titles. Contains details of the following Moore books:
page 29 Henry Moore Critical Essays"
page 30 "Celebrating Moore"
page 31 "Henry Moore Complete Sculpture: six volume catalogue"
page 32 "Henry Moore Complete Drawings: seven volume catalogue"
page 35 "Henry Moore Textiles"."

0020142

Publisher: Ashgate

Place Published: Aldershot.

Year: 2002

Date & Collation: 1pp(1 illus).

Description: Printed 6 Dec 2002 from Internet www.as. Publisher's web site publicity for the book by Julian Andrews (See 0020104).

0022907

Author/Editor: Edited by WELCHMAN John C.

Publisher: Ashgate

Place Published: Farnham and Burlington

Year: 2013

Date & Collation: xxii.281pp.Illus.Index.

Description: Part of the Subject/Object: New Studies in Sculpture series, examining the origin of the vitrine and glass cabinets, and various relations it brokers with sculpture. 179 passing reference to Moore as an avant-garde artist of the 1950s and 60s, in comparison to Fluxus. 185 passing reference to Moore in relation to the Fluxus box and Robert Morris's square, wooden Box with the Sound of its Own Making (1961).

0020193

Publisher: Ashgate

Place Published: Aldershot.

Year: 2003

Date & Collation: 1pp.

Description: Printed 19 January 2003 from Internet www.as. Publisher's online description of forthcoming book (See 0000000)/

0023066

Author/Editor: edited by JOLIVETTE, Catherine

Publisher: Ashgate

Place Published: Farnham

Year: 2014

Date & Collation: xvii275pp.Illus.Select bibliography.Index

Description: Book concerning the role of art and visual culture in discourses surounding nuclear science and technology, atomic power and nuclear warfare in Cold War Britain. 3, 8 Moore mentioned in the introduction in lists of artists. 21 Moore referenced alongside Paul Nash and Graham Sutherland, as British artists that aligned themselves with enduring 'Englishness' of the poetic nude and landscape traditions, during the war. This tendency was named 'Neo-Romantic' in 1946 under the patronage of the British War Advisory scheme led by Kenneth Clark. 53 and 65 reference to Moore and Peter (Laszlo) Peri who both made work which overtly celebrated atomic science and opposed nuclear weaponry. 62 In 1950 Moore signed a letter to the The Times opposing the use of atomic weapons in Korea. 63 and 229 Moore produced sculpture in the 50s and 60s that was widely seen as a direct response to the prevailing climate of nuclear anxiety. John Berger proposed Moore's Falling Warrior 1956-57 bronze (LH 405) to beome an emblem for the Campaign for Nuclear Disarmament (CND). Reference to Atom Piece (working model for Nuclear Energy) 1964-65 bronze (LH 525), commissioned by the University of Chicago, was the best known British sculpture to confront the twin subjects of atomic science and nuclear warfare. 64 illus of Nuclear Energy 1964-66 bronze (LH 526). 66 Moore included in a list of artists in relation to the work of a younger generation of sculptors which Herbert Read's identified with the geometry of fear". Read's pacifism and abhorence of nuclear arms led him to support the National Campaign for the Abolition of Nuclear Weapons Tests (NCANWT) alongside Barbara Hepworth and Moore. 5368 69 reference to Moore's Helmet Head sculptures of the 1950s-60s. 70 reference to Evidence of Anxiety an exhibition in Darmstadt in 1960 prompted by Read including the work of Moore Armitage Butler and Chadwick. 72 "After 1945 new forms of humanist sculpture expressed the anxieties created by deadly inventions of the nuclear technologists through a metamorphic metaphorical and dailectical language pioneered by Moore and given meaning my Read." 118 Thomas Whalen's Coal Cliff sculptural mural for the Hall of Power (Glasgow Festival of Britain 1951) is described as reminiscent of Jacob Epstein and Moore. 207 Moore mentioned in a list of artists in relation to Kenneth Clark's BBC documentary Civilisation. 204-205 Moore's Shelter Drawings such as Tube Shelter Perspective 1941 (HMF 1805) refered to in relation to Brownowski's Ascent of Man. Moore references to Moore in notes: 146 note 23 Moore won the International prize for Sculpture Venice 1948; 168 note 22 references Moore's petition to restore China's seat at the UN in February 1961."

0023137

Author/Editor: PIERSE Simon

Publisher: Ashgate

Place Published: Farnham

Year: 2012

Date & Collation: xiii.274pp.Illus.Appendix.Select bibliography.Index.

Description: Book exploring the impact of Australian art in Britain. Passing reference to Moore: 2 in relation to the Second World War and War Artists Committee; 18 in relation to painter Russell Drysdale; 19 in relation to Roy de Maistre and James Cant; 28 in relation to Oliffe Richmond who became Moore's assisstant. 29-30 section titled Australian asistants to Henry Moore. Oliffe Richmond assisted Moore for two years (1949-50) and took over Moore's teaching at Chelsea School of Art. Australian painter, Guy Warren, commented that Moore liked to employ Australian and New Zealander assistants because they were a little removed from the petty rivalries and jealousies of the UK art scene". Alan Ingram took over from Richmond. 4243 47 passing reference to Moore in chapter Austarlian Art and Artists in the New Elizabethan Age. 50 Moore mentioned as a patron of the Australian Artists' Association. 65 Moore in list of artists incuded in a letter from Bryan Robertson to Clark in relation to the Whitechapel. 169 illus and caption for the new Commonwealth Institute art gallery. Passing reference to Moore: 169 and 173 reference to Standing Figure: Knife Edge 1961 bronze (LH 482). 230 Ron Robertson-Swann assistant to Moore and studied under Antony Caro."

0020177

Author/Editor: READ Richard.

Publisher: Ashgate

Place Published: Aldershot.

Year: 2002

Date & Collation: xliii,260pp.30 plates.Bibliog.Index.

Description: British Art and Visual Culture since 1750 New Readings series. Study of the art criticism of Adrian Stokes (1902-1972).
202,226.Plates 27-28(2 illus) Henry Moore.
Photographs of two sculptures 1932-1933, a brief quotation on Donatello, and a statement that Moore hovers somewhat ambivalently between masculine carving and feminine modelling as far as the Phantasies he awoke in Stokes were concerned"."

0021517

Publisher: Ashgate

Place Published: Aldershot

Year: 2006

Date & Collation: 196pp.illus.bibliograpy.index

Description: Collection of essays considers the changing relationship between sculpture and gardens over the last three centuries. Moore content: 34(1 illus) - JAMES Geoffrey: Photographs; (Illus shows Moore's Draped Seated Woman 1957-58 bronze, (LH 428) at Yorkshire Sculpture Park). 113-119(1 Illus) - EYRES Patrick and RUSSELL Fiona : Introduction, Modernism, Postmodernism, Landscape and Regeneration; (1 Illus shows Two-Piece Reclining Figure No.5 1963-64 bronze, (LH 517) at Kenwood House, London Mentions of Moore throughout). 120-131(4 Illus) - POWERS Alan : Henry Moore's Recumbent Figure, 1938, at Bentley Wood; (Explores the importance of Moore's sculpture at the Sussex home of Serge Chermayeff. Illus show Recumbent Figure 1938 Hornton stone, (LH 191). Planting scheme for gardens at Bentley Wood listed. Discussion focused on the architectural significance of the sculpture. Mention of damaged caused by two US Marines to Recumbent Figure whilst on loan from Tate to Museum of Modern Art, New York, in 1944). 132-143(3 Illus) - BURSTOW Robert: Modern Sculpture in the Public Park: A Socialist Experiment in Open-Air 'Cultured Leisure': (Exploration of Moore's work at the 1948 LCC Battersea Park Sculpture exhibition and his political affilation to Labour Socialism. Illus, page 132, shows Moore with Patricia Strauss and Aneurin Bevan regarding Moore's Three Standing Figures 1947-48 Darley Dale stone, (LH 268). Illus, page 138, shows a group of women at Battersea Park studying Moore's sculpture. Includes illustrations of two cartoons spoofing the exhibition and Moore's sculpture; page 139 - Sculpture in the Park" Manchester Guardian 18 May 1948 by Stephen Bone depicts Three Standing Figures; page 140 - "The Open Air Exhibition of Contemporary Sculpture in Battersea Park is Arousing Considerable Interest" The Recorder 7 August 1948 by Sid Scales depicts Recumbent Figure). 144-155(2 Illus) - STEPHENS Chris: Modernism Out of Doors: Barbara Hepworth's Garden: (LH 350); page 152 shows Large Reclining Figure 1984 bronze (LH 192b)).

0023642

Author/Editor: Edited by READ Peter and KELLY Julia

Publisher: Ashgate

Place Published: Farnham, Surrey

Year: 2009

Date & Collation: 240pp.illus.

Description: Mentions of Moore pp.70 (listed as one of many modern artists who exhibited alongside Giacometti in 1936) and 130-131 (Moore, along with Giacometti, began to scale up his works in the late 1940s).

0023640

Author/Editor: Edited by MARSHALL Christopher

Publisher: Ashgate

Place Published: Farnham, Surrey

Year: 2011

Date & Collation: 265pp.illus.bibliog.index

0022620

Author/Editor: PEARSON Christopher E.M.

Publisher: Ashgate

Place Published: Farnham

Year: 2010

Date & Collation: xxi.389pp.Illus.Appendix.Bibliography.Index

Description: Monograph of the genesis, construction and reception of the Paris headquarters of the United Nations' Educational, Scientific and Cultural Organisation. Conceived in 1950 and inaugurated in 1958. In 1. The Dialectics of modernism: UNESCO as form and symbol: 9 and 11 reference to large scale works of art scattered over the landscaping, including location and site of Reclining Figure "its bulky curves recognizably cut from the same porous travertine as the building's veneer, holds erect a tiny, vestigial head. Facing west, she lies on a stone table in front of the long piazza façade, presiding over one of the sunken patios like a gargantuan sunbather in a pool". 18 Reference to the use of modern art and Moore's large female figure "to mitigate the stark geometries of modern architecture ... they hint at a return to the production of social meaning". Moore's figure "remains obstinately mute ... an unreconciled conflict between the modernist demand for subjective expression and an institutional need for a publicly legible iconography". 21 passing reference to Moore in list of artists rejecting the materialistic premise of modernity and marking a return to "subjectivity, spiritual values and mysticism". In 2. Reconstruction and synthesis: the institutional and intellectual origins of UNESCO: passing reference to Moore: 44 friendship with Julian Huxley, first Director-General of UNESCO. 56 advisor to the International Association of Plastic Arts (IAPA). In 3. "Synthesis of the major arts": Le Corbusier in Paris and at the United Nations: 71-72 Moore's Recumbent Figure 1938 green Horton stone, (LH 191) used to exemplify the "rapprochement of art and architecture as separate but related formal entities". 78 Le Corbusier sketches showing the work of a reclining figure in the style of Moore. 82 Time-Life Screen 1952-53 Portland stone, (LH 344) given as example of "synthesis of the arts" in the 1950s. 104 UN Secretary-General, Dag Hammarskjöld, influenced the choice of artists. He was planning to install a large work by Hepworth or Moore, before his death. In 5. UNESCO Headquarters: The Porte Mailott Project, 1952: 144 passing reference to association with Marcel Breuer and Herbert Read. In 8. The Art Advisers: 235-236 Herbert Read's relationship with Moore. Read wrote that Moore can "create ideal forms which have all the vital rhythm and structure of natural forms. He can escape from what is incidental in nature, and create what is spiritually necessary and eternal". Influenced my Read's ideas, Moore drew inspiration from bones, stones and the rounded forms of hills and landscapes, which he then conflated with the curves of the female body. 239-242 on the selection of artists. 245 correspondence between Huxley, Read, Jean Thomas at UNESCO, the curator Sir Philip Hendy and Moore. 247 contract with Moore to be concluded when final maquettes were forthcoming. In 9. Sun, moon, constellation and reclining figure: the art of UNESCO: 255-265 Moore one of six major artists; Illus of Reclining Figure, UNESCO, Roman travertine (LH 416); Moore's approach to sculpture, including the ultimate goal "to give the impression of life force residing in the material, seeming to shape its contours from within and hinting at vital energy connecting all living things, a connotation again potentially relevant to the universalizing work of UNESCO"; George Salles approached Moore in 1955; Description of the process; Moore produced numerous drawings and small clay maquettes suggesting the role of education at the level of the single human being, validating both UNESCO's primary mandate as well as its focus on the individual; Mary Moore; choice of material; Bernard Zehrfuss; full scale photographic blow-ups of maquette; work of the Société Henraux masonry works near Forte dei Marmi; most important work of Moore's career; media interest; Will Grohmann review; Moore reflected on the nature of modern art and its conflicted relationship to society; organic counterpoint to the technology of Breuer's architecture. Passing reference to Moore in relation to other artists: 268 and 270 in relation to Miro - on the desire to work closely with architects; on private and idiosyncratic symbolism. 275 in relation to Arp and antipathy to modern technology. 278 in relation to Calder. 283 and 290 in relation to Isamu Noguchi's garden and ground plan of overlapping "bio-morphic shapes". 297 Moore praising Picasso's work. 303 passing reference to Moore on site, prior to the inauguration. In 10. Conclusions: 318 passing reference to Moore. 324-5 Erich Neumann writing on the female archetype in relation to Moore's UNESCO work. 340-41 Moore signed a collective statement alongside artists and architects, in support of Israel. See index for references to Moore in footnotes.