Henry Moore Artwork Catalogue
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0022052
Author/Editor: JOLIVETTE Catherine
Publisher: Ashgate Publishing Ltd
Place Published: Hampshire
Year: 2009
Date & Collation: xi.178pp.illus.bibliography.index
Description: Book divided by chapter. Mention of Moore throughout, with particular reference within the following sections:
The Gendered Landscape
The Britishness of British Art
Growth and Form: The New Landscapes.
Three Moore illus:
Page 46 Reclining Figure: Festival 1951 bronze, (LH 293)
Page 47 illustration for Jaquetta Hawkes A Land, 'His lines follow life back into the stone' 1950 drawing, (HMF 2609).
Page 63 cartoon by Fougasse, Punch 27 June 1951 - That reminds me dear - did you remember the sandwiches?" depiciting a Moore-esque reclining figure with hollow middle."
0023139
Author/Editor: Edited by TAYLOR Brandon
Publisher: Ashgate Publishing Ltd
Place Published: Aldershot
Year: 2006
Date & Collation: xvi.237pp.Illus.Introduction by Brandon TAYLOR.11 Essays.Index
Description: Part of the series 'Subject/Object: New Studies in Sculpture' produced by The Henry Moore Institute, Leeds and edited by Penelope Curtis. 87-9 reference to Moore in chapter titled 'Miss Hepworth's stone is a mother', by Anne M. WAGNER. Moore's preoccupation with sculpting mothers and infants pre-dates that of Hepworth by five years. It goes back to at least 1922, the year of a now-lost Mother and Child. WAGNER writes that Moore aimed at revitalisation, proposing new bodies and bodily relationships. Reference to a methaphor written by STOKES, around 1930; illus of Moore's Suckling Child 1927 cast concrete (LH 42); reduction of mother to a mere object, a single breast; Klein; the absence of mother, loss of the mother's body; Illus of Study of a Suckling Child c.1930-1 drawing (HMF 831); comparison to the work of Barbara Hepworth. Wagner writes Moore wanted sculpture to nuture and aimed to produce an art that could be made to play that role". 98-99 in chapter titled Sculpture and Psychoanalysis David HULKS writes that sculptors around the 1950s were highly attuned to the way that their works would often be regarded as displaying symptoms of psychosis. Reference to Moore's writing on Standing Figure 1950 (LH 290) installed by the lake at Battersea Gardens "a gaunt figure rising agitated verticals from the verge of a calm flat sheet of water"; and then when relocated in Scotland "the bleak and lonely setting of a grouse moor". Moore describes the work has become "an image of loneliness .... as if stripped to the bone by the winds of several centuries". HULKS writes that this work was re-worked and re-emerged as Double Standing Figure 1950 bronze (LH 291) shown in the Venice exhibition Geometry of Fear in 1952. HULKS describes this "double personality" as a "classic schizoid trait"; Moore's idea that doubling would produce greater cohesion and stability was achieved however it increased "the impression of some incurable psychiatric disorder". Reference to Herbert Read's suggestion that the Geometry of Fear is about despair of defiance. 100 illus of Standing Figure 1950 bronze at Dumfries. 105 discussion of 'splitting' and 'agitated verticals' in relation to Klein's theories."
0020619
Publisher: Ashgate Publishing Ltd
Place Published: Aldershot
Year: 2004
Date & Collation: 338pp.Illus.Biographies.Bibliog.Index.
Description: A further volume in the 'Subject/Object: New Studies in Sculpture' series produced by the Henry Moore Institute, Leeds and edited by CURTIS Penelope.
Henry Moore is mentioned in many sections including those on the International Auschwitz Committee and his visits to Poland. Two Piece Reclining Figure No.1, 1959 (LH 457) is illustrated on p.123.
Henry Moore is mentioned in many sections including those on the International Auschwitz Committee and his visits to Poland. Two Piece Reclining Figure No.1, 1959 (LH 457) is illustrated on p.123.
0020620
Publisher: Ashgate Publishing Ltd
Place Published: Aldershot
Year: 2004
Date & Collation: 261pp.Illus.Bibliog.Index.
Description: In the series 'Subject/Object: New Studies in Sculpture' produced by The Henry Moore Institute, Leeds and edited by Penelope Curtis.
Henry Moore is mentioned on P.157 in reference to the debt that Moore and his contemporaries owe to Rodin.
Henry Moore is mentioned on P.157 in reference to the debt that Moore and his contemporaries owe to Rodin.
0020621
Publisher: Ashgate Publishing Ltd
Place Published: Aldershot
Year: 2004
Date & Collation: 251pp.Illus.Index.
Description: In the series 'Subject/Object: New Studies in Sculpture' Produced by The Henry Moore Institute, Leeds and edited by Penelope Curtis.
0020552
Author/Editor: Edited by BECKETT Jane and RUSSELL Fiona
Publisher: Ashgate Publishing Ltd
Place Published: Aldershot
Year: 2003
Date & Collation: xv,266pp.Illus.Introduction by Jane BECKETT and Fiona RUSSELL.11 Essays.Index
Description: First in the series 'Subject/Object: New Studies in Sculpture' produced by The Henry Moore Institute, Leeds and edited by Penelope Curtis. Henry Moore: Critical Essays grew out of a conference 'Place-Body-Script: Contemporary Views on Henry Moore', held at the University of East Anglia, Norwich, 4-6 December 1998 (See 0017953).
1-16 BECKETT Jane and RUSSELL Fiona, Introduction
17-42 WOOD Jon, A household name: Henry Moore's studio-homes and their bearings 1926-47'
43-65 KELLY Julia, The unfamilar figure: Henry Moore in French periodicals of the 1930s
66-80 HILLER Susan, 'Truth' and 'truth to material': Reflecting on the sculptural legacy of Henry Moore
81-106 CAUSEY Andrew, Henry Moore and the uncanny
107-124 STONEBRIDGE Lyndsey, Bombs, birth and trauma: Henry Moore's and D.W. Winnicott's prehistory figments
125-142 CURTIS Penelope and RUSSELL Fiona, Henry Moore and the post-war British landscape: Monuments ancient and modern
143-172 BURSTOW Robert, Henry Moore's 'open-air' sculpture: A modern, reforming aesthetic of sunlight and air
173-194 GARLAKE Margaret, Moore's eclecticism: Difference, aesthetic identity and community in the architectural commissions 1938-58
195-220 MURAWSKA-MUTHESIUS Katarzyna, Dreams of the Sleeping Beauty: Henry Moore in Polish art criticism and media, post-1945
221-242 BOAL Iain A, Ground zero: Henry Moore's Atom Piece at the University of Chicago
243-256 STEPHENS Chris, Henry Moore's Atom Piece: The 1930s generation comes of age
257-266 Index
1-16 BECKETT Jane and RUSSELL Fiona, Introduction
17-42 WOOD Jon, A household name: Henry Moore's studio-homes and their bearings 1926-47'
43-65 KELLY Julia, The unfamilar figure: Henry Moore in French periodicals of the 1930s
66-80 HILLER Susan, 'Truth' and 'truth to material': Reflecting on the sculptural legacy of Henry Moore
81-106 CAUSEY Andrew, Henry Moore and the uncanny
107-124 STONEBRIDGE Lyndsey, Bombs, birth and trauma: Henry Moore's and D.W. Winnicott's prehistory figments
125-142 CURTIS Penelope and RUSSELL Fiona, Henry Moore and the post-war British landscape: Monuments ancient and modern
143-172 BURSTOW Robert, Henry Moore's 'open-air' sculpture: A modern, reforming aesthetic of sunlight and air
173-194 GARLAKE Margaret, Moore's eclecticism: Difference, aesthetic identity and community in the architectural commissions 1938-58
195-220 MURAWSKA-MUTHESIUS Katarzyna, Dreams of the Sleeping Beauty: Henry Moore in Polish art criticism and media, post-1945
221-242 BOAL Iain A, Ground zero: Henry Moore's Atom Piece at the University of Chicago
243-256 STEPHENS Chris, Henry Moore's Atom Piece: The 1930s generation comes of age
257-266 Index