Henry Moore Artwork Catalogue
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0017028
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 1996
Date & Collation: x,262pp.Illus.Notes.Index.Bibliog by Meg DUFF.
Description: Published with the Tate Gallery Liverpool. Tate Gallery Liverpool Cultural Forum Series, 3.
Includes over fifty references to Henry Moore, and illustrations of two of his works. (The bibliography in turn cites the references to Hepworth throughout the Henry Moore Bibliography).
There are comparisons with Moore, and notes on the Mother and Child theme in the two artists, and Stringed Figures.
The essays are by David THISTLEWOOD, Penny FLORENCE, Alex POTTS, Anne M. WAGNER, Katy DEEPWELL, Anne J. BARLOW, Martin HAMMER and Christine LODDER, Chris STEPHENS, Penelope CURTIS, Claire DOHERTY, Alun R. GRAVES, Emma E. ROBERTS.
There are also extensive references to Naum Gabo, Ben Nicholson, and Herbert Read.
A revised and edited version of Katy Deepwell's text Barbara Hepworth and her Critics appears in the 1998 book Women Artists and Modernism (See 0017785).
Includes over fifty references to Henry Moore, and illustrations of two of his works. (The bibliography in turn cites the references to Hepworth throughout the Henry Moore Bibliography).
There are comparisons with Moore, and notes on the Mother and Child theme in the two artists, and Stringed Figures.
The essays are by David THISTLEWOOD, Penny FLORENCE, Alex POTTS, Anne M. WAGNER, Katy DEEPWELL, Anne J. BARLOW, Martin HAMMER and Christine LODDER, Chris STEPHENS, Penelope CURTIS, Claire DOHERTY, Alun R. GRAVES, Emma E. ROBERTS.
There are also extensive references to Naum Gabo, Ben Nicholson, and Herbert Read.
A revised and edited version of Katy Deepwell's text Barbara Hepworth and her Critics appears in the 1998 book Women Artists and Modernism (See 0017785).
0022691
Author/Editor: COCKE Richard
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2013
Date & Collation: xxiv.328pp.Illus.Biographies.Bibliography.Index
Description: Sixteenth volume in Public Sculpture of Britain series, produced by the Public Monuments and Sculpture Association. Five Moore illus, relating to each location. 66-69 details Moore's sculptures at the Sainsbury Centre for Visual Arts, University of East Anglia. Illus of Two Piece Reclining Figure No. 3 1961 bronze (LH 478). Quotes Moore's thoughts in making the piece. "I realised what an advantage a separated two piece composition could have in relating figures to landscape. Knees and breasts are mountains. Once these two parts become separated you don't expect it to be a naturalistic figure; therefore you can justifiably make it like a landscape or a rock". Reference to controversy over Moore's presentation of 35 sculptures to the Tate, 1967, involving Prime Minister Harold Wilson. Notes from the minutes of the Sainsbury Centre Board, 30 November 1978 relating to this work. 68 Illus of Reclining Figure 1962 bronze (LH 402) [called here Reclining Woman]. Described as revealing Moore's interest in Mexican Sculpture and Picasso's post-cubist figure style of Three Dancers 1925. Reference to Moore's comments on his reclining figure theme. 69 Illus of Draped Reclining Woman 1960 bronze (LH 431). Reference to origins of this sculpture in relation to work made for the UNESCO headquarters Paris; Moore's views on his use of drapery; Elgin marbles. "Drapery can emphasise the tension in a figure, for where the form pushes outwards, such as on the shoulders, thighs, the breasts etc., if can be pulled tight across the form (almost like a bandage), and by contrast with the crumpled slackness of the drapery which lies between salient points, the pressure from inside is intensified ... It need not be just a decorative addition, but can serve to stress the sculptural idea of the figure". 191 details Claydon Mother and Child 1949 Horton stone (LH 270) in the North nave aisle of Middleton Chapel, in St Mary and St Peter Church, Barham; Moore's placement of the sculpture in the church; Sir Jasper Ridley's (chairman of the Trustees of the National Gallery) commission of a cantata by Benjamin Britten and a Crucifixion from Graham Sutherland; involvement with Lord Kenneth Clark, Canon Walter Hussey and the Robert and Lisa Sainsbury collection at UEA; Moore's reluctance to take on the commission; Moore's thoughts on the difference between religious and secular art, with reference to 'Mother and Child'. 281 details Reclining Figure 1969 bronze (LH 608) at what was formerly Snape Maltings. Reference to Mitchinson's notes on this cast; its theft; Moore's friendship with Benjamin Britten; loans of sculpture to Snape Maltings and exhibition of his work at the Aldeburgh Music Festival.
0018134
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 1998
Date & Collation: vii,328pp.Illus.Bibliog.Index.
Description: An introduction by the editor, seventeen essays, and A Chronological Bibliography of Books and Pamphlets Written, Edited or Translated by Herbert Read. Two dozen references to Moore:
GOODWAY David. Introduction.
(Read's friendship with Moore, and the 1944 monograph (See 0008893)).
CECIL Hugh. Herbert Read and the Great War.
(Except for Moore, Read found the inspiration of the war veterens was exhausted).
BARKER Bob. Herbert Read as Novelist: The Green Child.
(Olivero's cell could be a hermit's cave designed by Moore).
CAUSEY Andrew. Herbert Read and Contemporary Art.
(Unit One. Read's closest friend was Moore. The sculptor's belief in the vital rhythms of nature followed Read's thinking inspired by Worringer. Illustrates a two-page opening from Henry Moore: Sculpture and Drawings (0008893)).
KINROSS Robin. Herbert Read and Design.
(Lists Moore as a hero of the British Council).
POTTER Norman. Herbert Read: word and object: in response to Robin Kinross.
(List mentions of Moore).
GOODWAY David. The Politics of Herbert Read.
(Moore considered Read fundamentally a romantic).
ROSS Malcolm. Herbert Read: art, education, and the means of redemption.
(Quotes Read's The Meaning of Art (See 0009325) on Moore's way of working).
THISTLEWOOD David. Herbert Read's Organic Aesthetics, 1: 1918-1950.
(Quotes Read on Moore's material and subject matter; and on the Surrealism and Abstraction dichotomy).
THISTLEWOOD David. Herbert Read's Organic Aesthetics, 2: 1950-1968.
(Read's move from Freud to Jung in understanding the work of Moore and others).
DAVEY Kevin. Herbert Read and Englishness.
(List mentions of Moore).
ZASLOVE Jerald. Herbert Read and Essential Modernism.
(List mentions of Moore).
GOODWAY David. Introduction.
(Read's friendship with Moore, and the 1944 monograph (See 0008893)).
CECIL Hugh. Herbert Read and the Great War.
(Except for Moore, Read found the inspiration of the war veterens was exhausted).
BARKER Bob. Herbert Read as Novelist: The Green Child.
(Olivero's cell could be a hermit's cave designed by Moore).
CAUSEY Andrew. Herbert Read and Contemporary Art.
(Unit One. Read's closest friend was Moore. The sculptor's belief in the vital rhythms of nature followed Read's thinking inspired by Worringer. Illustrates a two-page opening from Henry Moore: Sculpture and Drawings (0008893)).
KINROSS Robin. Herbert Read and Design.
(Lists Moore as a hero of the British Council).
POTTER Norman. Herbert Read: word and object: in response to Robin Kinross.
(List mentions of Moore).
GOODWAY David. The Politics of Herbert Read.
(Moore considered Read fundamentally a romantic).
ROSS Malcolm. Herbert Read: art, education, and the means of redemption.
(Quotes Read's The Meaning of Art (See 0009325) on Moore's way of working).
THISTLEWOOD David. Herbert Read's Organic Aesthetics, 1: 1918-1950.
(Quotes Read on Moore's material and subject matter; and on the Surrealism and Abstraction dichotomy).
THISTLEWOOD David. Herbert Read's Organic Aesthetics, 2: 1950-1968.
(Read's move from Freud to Jung in understanding the work of Moore and others).
DAVEY Kevin. Herbert Read and Englishness.
(List mentions of Moore).
ZASLOVE Jerald. Herbert Read and Essential Modernism.
(List mentions of Moore).
0021227
Author/Editor: CAVANAGH Terry
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2007
Date & Collation: xxiv.504pp.Illus.Glossary.Biog 450-451.Bibliog.Index.
Description: Tenth volume in Public Sculpture of Britain series, produced by the Public Monuments and Sculpture Association. Catalogues the public works in the Boroughs of Wandsworth, Lambeth, Southwark and Lewisham. (See 0019246). Mentions of Moore throughout: Pages 274-276: Discussion on the acquisition, siting and controversy surrounding the money spent on purchasing Moore's Two Piece Reclining Figure No.3 bronze, (LH 478), illus page 275, for the Brandon Estate, Walworth, SE17. Pages 288-292: Discussion on the acquisition, siting and controversy surrounding Moore's Three Standing Figures 1947 Darley Dale stone, (LH 268), illus-page 289, at Battersea Park. Page 314: Moore rejects LCC's offer to purchase Fallen Warrior for Danebury Avenue, Roehampton, SW15.
0019246
Author/Editor: CAVANAGH Terry.
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2000
Date & Collation: xxviii,420pp.Illus.Glossary.Biog 352-390.Bibliog.Index.Introduction by Alison YARRINGTON.
Description: University of Leicester also appears on the title page. One of a series of volumes produced by the Public Monuments and Sculpture Association.
322-323(1 illus) Henry Moore.
In a section 'Lost and Removed Works' details of University of Leicester's Draped Seated Woman, 1957-1958 bronze on site 1970-1971 and replaced by Oval with Points, 1968-1970 bronze between 1971-1987.
The text records that Henry Moore visited the University in 1969 and received an honorary doctorate in 1971. The Henry Moore Foundation removed Oval with Points, 1968-1970 bronze for exhibitions for more than three years 1977-1981, and again in 1987. The site remained empty until it was filled in 1990 with a work by Helaine Blumenfeld.
This is mentioned in the Introduction by Alison Yarrington, and briefly in the entry for the Blumenfeld. There is a biography of Henry Spencer Moore on page 377.
322-323(1 illus) Henry Moore.
In a section 'Lost and Removed Works' details of University of Leicester's Draped Seated Woman, 1957-1958 bronze on site 1970-1971 and replaced by Oval with Points, 1968-1970 bronze between 1971-1987.
The text records that Henry Moore visited the University in 1969 and received an honorary doctorate in 1971. The Henry Moore Foundation removed Oval with Points, 1968-1970 bronze for exhibitions for more than three years 1977-1981, and again in 1987. The site remained empty until it was filled in 1990 with a work by Helaine Blumenfeld.
This is mentioned in the Introduction by Alison Yarrington, and briefly in the entry for the Blumenfeld. There is a biography of Henry Spencer Moore on page 377.
0022567
Author/Editor: MORRIS Edward., ROBERTS Emma.
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2012
Date & Collation: xxxiv.308pp.Illus.Biographies.Bibliography.Index
Description: Fifteenth volume in Public Sculpture of Britain series, produced by the Public Monuments and Sculpture Association. Moore is quoted on page xxiv in a section on the relationship between the architect and sculptor: relief sculpture symbolized for me the humiliating subservience of the sculptor to the architect for in ninety-nine cases out of a hundred the architect only thought of sculpture as surface decoration"."
0022331
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2012
Date & Collation: 128pp.illus.index.
Description: Chronological guide to the collection of the Walker Art Gallery, published in association with National Museums Liverpool. One Moore illus page 119 shows Falling Warrior 1956-57 bronze, (LH 405).
0020273
Author/Editor: WARD-JACKSON Philip.
Publisher: Liverpool University Press
Place Published: Liverpool.
Year: 2003
Date & Collation: xxxi,520pp.Illus.Biog.Glossary.Bibliog.Index.
Description: Public Sculpture of Britain Volume Seven. Contains half-a-dozen mentions of Henry Moore. He is one of the artists listed in the introduction as conspicuous by their absence from the City. Henry Moore is mentioned in passing in the biographies of Michael Ayrton, Anrhony Caro, Gilbert Ledward, and Samuel Rabinovitch.
0023083
Author/Editor: SEDDON Jill., SEDDON Peter., MCINTOSH Anthony
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2014
Date & Collation: xviii.222pp.Illus.Biographies.Bibliography.Index
Description: Seventeenth volume in Public Sculpture of Britain series, produced by the Public Monuments and Sculpture Association. Five Moore illus, relating to each location. 79 Reference to Moore exhibition in Lewes: Land + Sea 2004, exploring the landscape as a source of inspiration. 140 brief reference to Moore in relation to the Cass Sculpture Foundation in Horsham; long terms friendship with Wilfred and Jeannette Cass.
0023620
Author/Editor: CROSS David A.
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2017
Date & Collation: 230pp.preface.maps.bibliog.index.illus.
Description: Volume 19 of a series on the public sculpture of Britain. Passing mention on p.187 in discussion of Barrowmouth, Cumbria, as a source of Cumberland Alabaster.
0024210
Author/Editor: MASSEY Anne
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2020
Date & Collation: 193pp.illus.
Description:
Biography of Dorothy Morland, director of the Institute for Contemporary Arts from 1950 to 1968. Mentions of Moore - a "lifelong friend" (p.22) - throughout, from their possible first meeting through their joint associations with the Group Theatre's production of Auden's Dance of Death in 1935 onwards. Two Moore works illustrated: Seated Figure LH 347 with Freda Paolozzi (p.62) and a textile design (Zigzag TEX 23) on the cover of the exhibition catalogue for Paintings into Textiles (p.79).
0024122
Author/Editor: ROSE Pauline
Publisher: Liverpool University Press
Place Published: Liverpool
Year: 2020
Date & Collation: 300pp.illus.
Description: Monograph on British women sculptors. Mentions of Moore throughout, often in connection with Barbara HEPWORTH. A section on "narrating the artist and her studio" comments extensively on the reception of Hepworth's work, and how she was frequently viewed in relation to male artists, especially Moore. Mentions of the 1929 Reclining Figure (LH 59) and Family Group (LH 269).