Henry Moore Artwork Catalogue
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0017130
Author/Editor: LYNTON Norbert.
Publisher: Modern Painters
Place Published: London
Year: 1996
Date & Collation: (Autumn) 9(3) 56-61(1 Moore illus).
Description: Review of Un Siècle de Sculpture Anglaise (See 0017116). Includes full-page colour photograph of _U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble, and passing mention of Moore.
0015254
Author/Editor: WOLMAR Christian.
Publisher: Modern Painters
Place Published: London
Year: 1992
Date & Collation: (Spring) 5(1) 73-75(8 illus).
Description: The battle between the Henry Moore Foundation Mary Moore and the Hertfordshire Planners has implications far beyond Perry Green Moore's adopted home. Should historical sites evolve or should they be kept as they were?" Includes photographs of existing buildings on the estate and the architect's impressions of new developments in contrast. The text describes the estate and the proposed developments and sets out the opposing views of Mary Moore and the Foundation quoting Sir Alan Bowness and David Mitchinson. A slightly edited version of the text appeared in The Independent 7 March 1992 (See 0015042).
A short letter from Sir Alan Bowness was published on page 113 of the Summer 1992 issue of Modern Painters correcting some statistics. This on the same page as a letter from P.T. Hezzall-Moody stating that it is of paramount importance that Moore's studios remain as he left them that Mary Moore should become a Trustee again and that a Moore gallery should be built in London."
A short letter from Sir Alan Bowness was published on page 113 of the Summer 1992 issue of Modern Painters correcting some statistics. This on the same page as a letter from P.T. Hezzall-Moody stating that it is of paramount importance that Moore's studios remain as he left them that Mary Moore should become a Trustee again and that a Moore gallery should be built in London."
0015257
Author/Editor: WILLIAMS Glynn.
Publisher: Modern Painters
Place Published: London
Year: 1992
Date & Collation: (Winter) 5(4) 38-41(9 illus).
Description: Review article on the Hayward Gallery exhibition, mentioning the influence of Chac Mool figures on Henry Moore. Moore's is a languid classical Matisse-like life-room pose...The Chac Mool sculpture included in this exhibition is a hard and stark example which Moore...would have found difficult to emulate without softening the extreme set-up".
Moore is mentioned in passing in other articles in this issue:
68-71 Art and Criticism the knowing eye: Sir Ernst Gombrich talks to Martin Gayford.
90-91 LYNTON Norbert. Ben Nicholson at Martigny.
108-109 HYATT Derek. The wounded healer. (Book review of Michael Tucker's Dreaming with Open Eyes (See 0014877))."
Moore is mentioned in passing in other articles in this issue:
68-71 Art and Criticism the knowing eye: Sir Ernst Gombrich talks to Martin Gayford.
90-91 LYNTON Norbert. Ben Nicholson at Martigny.
108-109 HYATT Derek. The wounded healer. (Book review of Michael Tucker's Dreaming with Open Eyes (See 0014877))."
0015256
Author/Editor: RAPHAEL Frederic.
Publisher: Modern Painters
Place Published: London
Year: 1992
Date & Collation: (Autumn) 5(3) 36-40(5 illus).
Description: Special writers issue. Frederic Raphael on the heartlessness necessary to art and the motivation of those who promote cultural icons". Mentions Moore à Bagatelle (See 0014971). "The sculptures even as temporary tenants had taken up residence with the sublime assurance of cosmopolitan aristocrats who belonged wherever they happened to be" and Henry Moore Intime (See 0014956). "We see in the narrow clutter the domestic evidence of the artist's earnestness".
Moore is also mentioned in:
29-31 CLEAVE Maureen. Archer's art
(Jeffrey Archer Collection. "It's a great privilege to own a Henry Moore...It's very special. Very very special").
There is a feature on Canova and Caro and an interview with Phillip King mentioning The Sculpture of Phillip King published by Lund Humphries in association with the Henry Moore Foundation.Assistance was received for the Henry Moore and Anthony Caro articles from the Henry Moore Foundation"."
Moore is also mentioned in:
29-31 CLEAVE Maureen. Archer's art
(Jeffrey Archer Collection. "It's a great privilege to own a Henry Moore...It's very special. Very very special").
There is a feature on Canova and Caro and an interview with Phillip King mentioning The Sculpture of Phillip King published by Lund Humphries in association with the Henry Moore Foundation.Assistance was received for the Henry Moore and Anthony Caro articles from the Henry Moore Foundation"."
0015255
Author/Editor: MARLOW Tim.
Publisher: Modern Painters
Place Published: London
Year: 1992
Date & Collation: (Summer) 5(2) 75-77(8 illus).
Description: On occasion of Williams' exhibition at Margam Park. Includes a paragraph on how his approach to materials differs from that of Moore. I think you should push your material until it starts to squeal until it gives...essentially Moore produced surface carvings work which undulated the surface of the material but which didn't actually let you into it at all so there's always a mass in the middle...I much prefer the way stone is treated by the Cathedral builders. Look at the palm tree pillar in Salisbury Cathedral for example".
There are two letters about the Henry Moore Foundation on page 113 (See 0015254) and mention of Moore in passing in:
42-46 HALE John. Giacomo Manzù: the end of a tradition."
There are two letters about the Henry Moore Foundation on page 113 (See 0015254) and mention of Moore in passing in:
42-46 HALE John. Giacomo Manzù: the end of a tradition."
0012858
Publisher: Modern Painters
Place Published: London
Year: 1991
Date & Collation: (Summer) 4(2) 114pp.Illus.Adverts.
Description: This issue received support from the Henry Moore Foundation."
6-7(1 Moore illus) PACKER William. Editorial: Is it sculpture?
(Richard Long. Includes a photograph of Reclining Figure 1938 lead. Mentions the shared landscape tradition of Moore and Long).
26-30(1 Moore illus) O'HEAR Anthony. Figurative sculpture after Henry Moore.
(Moore's monumental presence although "the sculpture being done now owes little to Moore in any direct way... Moore was not in any significant sense a modernist... His themes are timeless and treated mythically". Elisabeth Frink Glynn Williams Barry Flanagan and others).
32-37 WOLLHEIM Richard. Tony Cragg at Forty-one at Newport Beach.
(Includes a list-mention of Moore).
41-45 DRABBLE Margaret. What do we know about Willie Lot?
(Landscape in Richard Long Hamish Fulton and John Constable).
46-51 SINCLAIR Iain. A new vortex: the Shamanism of Intent.
(The Shamanism of Intent exhibition of Stephen Dilworth and Brian Catling Henry Moore Fellow in Sculpture at Norwich School of Art 1982).
53. MABEY Richard. Christo.
54-57 HOOKER Jeremy. Their silence a language.
(Lee Grandjean and poet Jeremy Hooker).
58 WALTERS Margaret. Winged Pegasus.
(Andrew Logan).
64-65 KEMP John. Mary Spencer-Watson.
(Mentions Moore's interest in the British Museum's historical art).
Also includes general articles on painting including Bridget Riley on Seurat book and exhibition reviews letters."
6-7(1 Moore illus) PACKER William. Editorial: Is it sculpture?
(Richard Long. Includes a photograph of Reclining Figure 1938 lead. Mentions the shared landscape tradition of Moore and Long).
26-30(1 Moore illus) O'HEAR Anthony. Figurative sculpture after Henry Moore.
(Moore's monumental presence although "the sculpture being done now owes little to Moore in any direct way... Moore was not in any significant sense a modernist... His themes are timeless and treated mythically". Elisabeth Frink Glynn Williams Barry Flanagan and others).
32-37 WOLLHEIM Richard. Tony Cragg at Forty-one at Newport Beach.
(Includes a list-mention of Moore).
41-45 DRABBLE Margaret. What do we know about Willie Lot?
(Landscape in Richard Long Hamish Fulton and John Constable).
46-51 SINCLAIR Iain. A new vortex: the Shamanism of Intent.
(The Shamanism of Intent exhibition of Stephen Dilworth and Brian Catling Henry Moore Fellow in Sculpture at Norwich School of Art 1982).
53. MABEY Richard. Christo.
54-57 HOOKER Jeremy. Their silence a language.
(Lee Grandjean and poet Jeremy Hooker).
58 WALTERS Margaret. Winged Pegasus.
(Andrew Logan).
64-65 KEMP John. Mary Spencer-Watson.
(Mentions Moore's interest in the British Museum's historical art).
Also includes general articles on painting including Bridget Riley on Seurat book and exhibition reviews letters."
0012861
Author/Editor: PRUS Timothy.
Publisher: Modern Painters
Place Published: London
Year: 1991
Date & Collation: (Winter) 4(4) 108-109(2 illus).
Description: Review of book on Fornasetti and of Lesley Jackson's The New Look exhibition (See 0012753), criticising the placing of a Moore Reclining Figure next to a table by Carlo Mollino. Does this mean Moore has an unpaid debt to Art Nouveau?""
0012860
Author/Editor: O'HEAR Anthony.
Publisher: Modern Painters
Place Published: London
Year: 1991
Date & Collation: (Winter) 4(4) 91(2 illus).
Description: Exhibition review of 0012785, quoting 1935 statement by Henry Moore that artists will not tolerate preparation for war and the spread of Fascism.
0013199
Publisher: Modern Painters
Place Published: London
Year: 1988
Date & Collation: -1989 1(4) 42-43(1 illus).
Description: Reprints Mrs. Thatcher's speech at the opening of the Royal Academy exhibition (See 0011076) in which she mentions meeting Moore when she was Secretary of State for Education and Science. Works by Moore are in 10 Downing Street, at Chequers and at the Queen Elizabeth Conference Centre. Mentions interest of Helmut Schmidt and of President Mitterrand in Henry Moore.
Patrick HERON comments on his recollections of the discussion on art education when Margaret Thatcher met Henry Moore, at which Moore argued against academic qualifications for entry to art education. The illustration is a 1988 cartoon by Ralph Steadman entitled Reclining Bronze Maiden, in which Mrs. Thatcher is depicted as a Moore reclining figure.
Moore is mentioned in other articles in this issue:
22-31 FULLER Peter. Victor Pasmore.
33 GOWRIE Grey. A small gloss on glasnost: Bacon in Moscow.
48-50 BECKETT Wendy. Hicks and Houshiary: two women sculptors.
77 JANUSZCZAK Waldemar. Michael Rothenstein.
96-97 COLLINGS Matthew. Diary of a celeb.
Patrick HERON comments on his recollections of the discussion on art education when Margaret Thatcher met Henry Moore, at which Moore argued against academic qualifications for entry to art education. The illustration is a 1988 cartoon by Ralph Steadman entitled Reclining Bronze Maiden, in which Mrs. Thatcher is depicted as a Moore reclining figure.
Moore is mentioned in other articles in this issue:
22-31 FULLER Peter. Victor Pasmore.
33 GOWRIE Grey. A small gloss on glasnost: Bacon in Moscow.
48-50 BECKETT Wendy. Hicks and Houshiary: two women sculptors.
77 JANUSZCZAK Waldemar. Michael Rothenstein.
96-97 COLLINGS Matthew. Diary of a celeb.
0013198
Publisher: Modern Painters
Place Published: London
Year: 1988
Date & Collation: (Autumn) 1(3) 4-21(20 illus).
Description: 4-5 FULLER Peter. Editorial, Henry Moore on television: an open letter to Anthony Barnett.
(I find this an extraordinary failure...a capacity for trivialisation remarkable even in a television pot-boiler... I find it hard to understand why you wanted to make this film at all... You don't give a damn about aesthetic judgements").
6-13 FULLER Peter. Anthony Caro talks about Henry Moore.
(Interview on being an assistant to Moore Moore's visit to Greece Clement Greenberg English perception of landscape as a pain in the neck Caro's newspaper texts on Moore Caro's own work human figure in sculptures).
14-15 WILLIAMS Glynn. Looking at Henry Moore.
(One of Britain's leading figurative sculptors describes his response to Henry Moore's work. "Not only has he commandeered an area of nature into his sculpture he has seemed to return the sculpture to nature as if replacing it in its real context... Henry Moore is probably the greatest draughtsman this country has produced this century... Moore was a natural carver... Moore was an intuitive formalist... Moore's sculptures seem to involve something that is so basic that one cannot imagine sculpture without it. Yet...he is an isolated figure").
16-21 GOLDING Martin. Henry Moore's Shelter drawings revisited.
(The sense in which the drawings were seen as a reverse of Moore's modernist achievements a turning point in his art and at the same time "as great as any works Moore created in any medium". The monumentality of his female figure drawings and the landscape elements in his later work. The Shelter drawings exhibited a fusion with his existing world of forms. "The sense of enclosure which he had explored earlier and his predilection for the impassive reclining figure chimed exactly with what he found on the Underground platforms." They draw also on the history of the human figure in art. Their "universal condition is absolutely real". The Shelter drawings gave Moore his first life s ubjects since the early 1930s and led to the fusion of Classical and Primitive forms which infused his work until the last).
Written on eve of British Museum exhibition (See 0000179).
Moore is mentioned in:
70-71 READ Benedict. Stone carving.
(Stoneworks exhibition (See 0000193)).
86-87 BERTHOUD Roger. Model lives.
(Reviews of James Lord's Giacometti and Frederic V. Grunfeld's Rodin)."
(I find this an extraordinary failure...a capacity for trivialisation remarkable even in a television pot-boiler... I find it hard to understand why you wanted to make this film at all... You don't give a damn about aesthetic judgements").
6-13 FULLER Peter. Anthony Caro talks about Henry Moore.
(Interview on being an assistant to Moore Moore's visit to Greece Clement Greenberg English perception of landscape as a pain in the neck Caro's newspaper texts on Moore Caro's own work human figure in sculptures).
14-15 WILLIAMS Glynn. Looking at Henry Moore.
(One of Britain's leading figurative sculptors describes his response to Henry Moore's work. "Not only has he commandeered an area of nature into his sculpture he has seemed to return the sculpture to nature as if replacing it in its real context... Henry Moore is probably the greatest draughtsman this country has produced this century... Moore was a natural carver... Moore was an intuitive formalist... Moore's sculptures seem to involve something that is so basic that one cannot imagine sculpture without it. Yet...he is an isolated figure").
16-21 GOLDING Martin. Henry Moore's Shelter drawings revisited.
(The sense in which the drawings were seen as a reverse of Moore's modernist achievements a turning point in his art and at the same time "as great as any works Moore created in any medium". The monumentality of his female figure drawings and the landscape elements in his later work. The Shelter drawings exhibited a fusion with his existing world of forms. "The sense of enclosure which he had explored earlier and his predilection for the impassive reclining figure chimed exactly with what he found on the Underground platforms." They draw also on the history of the human figure in art. Their "universal condition is absolutely real". The Shelter drawings gave Moore his first life s ubjects since the early 1930s and led to the fusion of Classical and Primitive forms which infused his work until the last).
Written on eve of British Museum exhibition (See 0000179).
Moore is mentioned in:
70-71 READ Benedict. Stone carving.
(Stoneworks exhibition (See 0000193)).
86-87 BERTHOUD Roger. Model lives.
(Reviews of James Lord's Giacometti and Frederic V. Grunfeld's Rodin)."
0013197
Author/Editor: DORMENT Richard.
Publisher: Modern Painters
Place Published: London
Year: 1988
Date & Collation: (Spring) 1(1) 92-93(2 illus).
Description: Review of The Life of Henry Moore (See 0000182). His life was entirely successful without being remotely interesting." Equates Moore his art and this biography with the Victorian tradition. "The High Victorians were fossilized by their biographers and by those special rooms at the Tate... It took fifty years to shake off their executors and to see them for ourselves. This Life of Henry Moore is a worrying sign that the same thing may be happening to him.""
0013196
Author/Editor: BERTHOUD Roger.
Publisher: Modern Painters
Place Published: London
Year: 1988
Date & Collation: (Spring) 1(1) 54-57(2 illus).
Description: Berthoud describes how he came to write The Life of Henry Moore (See 0000182) and his personal interviews with the artist.
Moore is mentioned in Peter Fuller's Editorial in this first issue of Modern Painters and in his article on pages 21-27 Nature and Raw Flesh: Sutherland and Bacon. Also 59-63 Doing It By the Book: Matthew Collings interviewed by Matthew Collings (on Artscribe). The Life of Henry Moore is reviewed on pages 92-93 (See 0013197).
Moore is mentioned in Peter Fuller's Editorial in this first issue of Modern Painters and in his article on pages 21-27 Nature and Raw Flesh: Sutherland and Bacon. Also 59-63 Doing It By the Book: Matthew Collings interviewed by Matthew Collings (on Artscribe). The Life of Henry Moore is reviewed on pages 92-93 (See 0013197).
0019397
Author/Editor: GAYFORD Martin.
Publisher: Modern Painters
Place Published: London
Year: 2001
Date & Collation: 14(2) 36-39(3 illus).
Description: Interview with David Sylvester on art writing and exhibition curating. Includes a paragraph on Henry Moore, noting the landscape and sexual connotations of the cavities in his works.
0015650
Author/Editor: WALTERS Margaret.
Publisher: Modern Painters
Place Published: London
Year: 1993
Date & Collation: (Summer) 6(2) 91-92(1 Moore illus).
Description: Exhibition review (See 0015457) opening with appreciation of Madonna and Child, 1943 bronze, and with a photograph of Mother and Child: Hood, 1983 travertine marble. On page 111 of the Autumn 1993 Modern Painters appears a letter from Arthur Dyer pointing out the error in the labelling of the photography. For other mentions of Moore in this issue of Modern Painters see 0015651.
0015651
Author/Editor: KRAMER Hilton.
Publisher: Modern Painters
Place Published: London
Year: 1993
Date & Collation: (Summer) 6(2) 48-50(1 Moore illus).
Description: Review of Peter Fuller's Modern Painters (See 0015417), mentioning Kramer's last visit to Moore in 1972 when Ruskin was discussed. A Moore illustration also appears on page 91 (See 0015650) and Moore is mentioned in:
38-43 MAXWELL Douglas. Louise Bourgeois, and in the Readers' Letters and Contributors pages.
38-43 MAXWELL Douglas. Louise Bourgeois, and in the Readers' Letters and Contributors pages.
0015652
Author/Editor: COHEN David.
Publisher: Modern Painters
Place Published: London
Year: 1993
Date & Collation: (Winter) 6(4) 78-80(2 illus).
Description: Review of A British Vision of World Art (See 0015455) which includes a discussion on the friendship between Read and Moore. This relationship between a critic and sculptor represents one of the greatest symbioses in art history a rare meeting of the mind of one man and the hand of another in which the sculpture genuinely confirms and expands the critic's thought while the explication profoundly affects the sculptor's self-awareness".
There is a list-mention of the Henry Moore Foundation in:
94-95 GREGORY Anne. Julian Opie and Richard Wentworth.
86-88 HUGHES Glyn. Four provincial galleries."
There is a list-mention of the Henry Moore Foundation in:
94-95 GREGORY Anne. Julian Opie and Richard Wentworth.
86-88 HUGHES Glyn. Four provincial galleries."
0017858
Author/Editor: REYNOLDS Oliver.
Publisher: Modern Painters
Place Published: London
Year: 1998
Date & Collation: (Autumn) 85(1 illus).
Description: Errol Jackson photograph of Moore carving, as illustration to a version of a poem by Théophile Gautier which ends:
So chisel, file and ream
Striving with the hewn block
The dream
Emerges out of rock.
So chisel, file and ream
Striving with the hewn block
The dream
Emerges out of rock.
0013335
Author/Editor: MAXWELL Douglas.
Publisher: Modern Painters
Place Published: London
Year: 1989
Date & Collation: (Spring) 2(1) 46-51(illus).
Description: Includes an answer on Henry Moore: At their best his sculptures are among the great works of art of our time...The bronzes distorted his imagery in a curious way...It's very difficult to know whether his later work will be judged to be as great as this early work. I think the etchings of sheep are superb".
Moore is mentioned in Peter Fuller's article on pages 26-31 entitled The Last Romantics? which is a review of the Barbican exhibition (See 0010922); also in his Editorial on page 5: A Year in the Life of Modern Painters."
Moore is mentioned in Peter Fuller's article on pages 26-31 entitled The Last Romantics? which is a review of the Barbican exhibition (See 0010922); also in his Editorial on page 5: A Year in the Life of Modern Painters."
0012859
Publisher: Modern Painters
Place Published: London
Year: 1991
Date & Collation: (Winter) 4(4) 18-27(1 Moore illus).
Description: Includes a small photograph of Two Piece Reclining Figure, 1963-1965 bronze. Greenberg dislikes Moore's bronzes, mentioning the Lincoln Center figure as an example. He is briefly dismissive of Moore: He's not good enough.""