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0007081

Publisher: Huddersfield Daily Examiner

Place Published: Huddersfield

Year: 1959

Date & Collation: (16 Jan)..(1 illus).

Description: A.C. Sewter of Manchester University supports Huddersfield Corporation's purchase of Falling Warrior, 1956-1957 bronze. This text also appeared in the Huddersfield Examiner on 17 Jan 1959.

0007113

Publisher: Die Tat

Place Published: Zürich

Year: 1959

Date & Collation: (19 Sept)..(1 illus).Initialled M.E.

Description: Discusses suitability of Falling Warrior, 1956-1957 bronze as memorial to Finnish pilots in Zollikon. Moore has achieved a timeless version of the theme, the defensive attitude being especially suitable as a war memorial in a neutral country.

0007043

Publisher: Francke Verlag

Place Published: Bern and Munich

Year: 1959

Date & Collation: 183pp.60 plates.Bibliog.Texts in German and French.

Description: Ten papers presented at symposium held in the Philosophy Faculty of the Universität des Saarlands in Saarbrücken, 28,29 and 30 May 1956, on unfinished work or partial figures in art, literature, music.
Plate 42(1 illus) Henry Moore: Warrior with Shield, 1953-1954 bronze.
117-139 SCHMOLL GEN. EISENWORTH J.A. Zur Genesis des Torso-Motivs und zur Deutung des fragmentarischen Stils bei Rodin.
(On the genesis of the torso theme and the meaning of the fragmentary style of Rodin. Cites the Warrior as an example of the new way the torso is being treated as a symbolic figure).

0007085

Publisher: Huddersfield Daily Examiner

Place Published: Huddersfield

Year: 1959

Date & Collation: (4 Feb)..(5 illus).

Description: Justification of Henry Moore's work against public opinion on the arrival of the Falling Warrior, 1956-1957 bronze in Huddersfield.

0007087

Author/Editor: TAYLOR Alfred.

Publisher: Yorkshire Evening Post

Place Published: Leeds

Year: 1959

Date & Collation: (5 Feb)..

Description: Public response to Falling Warrior, 1956-1957 bronze on display at Huddersfield Art Gallery. Comment continued in Yorkshire newspapers through 11 February 1959, mostly unfavourable.

0016998

Publisher: Municipal Gallery of Modern Art

Place Published: Dublin

Year: 1959

Date & Collation: (25 Nov-20 Dec).

Description: Institute of Sculptors of Ireland exhibition.
Exhibits 59-60 Henry Moore: two bronzes. Plate 1 is a photograph of Falling Warrior, 1956-1957 bronze.
Title also printed variously as International Exhibition: Sculpture; International Exhibiton of Sculpture; and Sixth Exhibition of Sculpture.

0007130

Author/Editor: TAKIGUCHI Shuzo.

Publisher: Asahi Journal

Place Published: Tokyo

Year: 1959

Date & Collation: (17 May) 1(9)..(3 illus).Text in Japanese.

Description: Article at time of The Fifth International Art Exhibition of Japan (See 0007050) expressing pleasure at being able to see works by Moore. Notes trend from carving to bronze, and the development of spaces within the works, their power and organic development. Full-page photograph of Warrior with Shield, 1953-1954 bronze which carries a deep psychological force.
Title romanized: Seimeiryoku sono mono.

0007150

Publisher: I.P.A.

Place Published: Antwerp

Year: 1959

Date & Collation: (June)..(3 illus).Text in Dutch.

Description: Note on opening of the 1959 Biennial (See 0007052), photographs of three Moore bronzes, and two poems by Remi DE CNODDER: Falling Warrior, and Upright Motives.

0007016

Author/Editor: NEUMANN Erich.

Publisher: Routledge

Place Published: London

Year: 1959

Date & Collation: xv,138pp(107 illus).Bibliog.

Description: Bollingen Series. Translated from an unpublished manuscript: Henry Moore und der Archetyp des Weiblichen. Dr. Neumann, who studied with Jung, explains the notion of the archetype in relation to art techniques. In Moore the Primordial Feminine stands at the center of his work with such exclusive emphasis". The true object of Moore's work is seen as "this maternal nature who creates the world of forms". Moore's feelings for Primitive art are in keeping with the concept; and the abstract works of the 1930s are seen as the feminine archetype reduced to its primary form. Stone is part of the feminine world of nature and holes in Moore's work are given a sexual meaning with both womb-like and haptic references. The wartime Shelter drawings represented a unique opportunity for Moore to experience the sheltering care of the earth with the collapse of the civilized world into a return to the primitive existence of cave life ("the cavernous womb of the Great Mother"). The drawings of miners are seen as social documents rather than archetypal visions. The position of the Oedipus Complex in creative artists is discussed briefly. The Stringed Figures and related drawings emphasise the depth dimension and are described as strange and daemonic. They are linked with primitive concepts of the female body "in which life is secretly concocted". The loneliness of the individual is analyzed in the figures in prison rooms. During the war the feminine archetype also appears "as a spectral death goddess" particularly in the Reclining Figure 1939 lead. After the war the Great Goddess as positive guardian and as devouring phantom are joined by "the redeeming third". The "archetypal triad" appears in the Three Fates 1941 drawing and later in Three Standing Figures 1947-1948 Darley Dale stone. The man appears as the third figure in the Family Groups. The Head as an independent structure develops in Helmet Heads ("the maternal uterus with an embryonic creative inside") as symbols of nihilism. The Upright Figures are forms from inside the helmets larger than life size. During the 1950s elements from previous works are brought together. Mutually opposed forms are created contemporaneously as in the tragic Warriors and the tranquil Reclining Figures of the time. Moore not only creates great sculpture but brings a new age into being: one that compensates the one-sided patriarchal culture with the feminine archetype.
For German edition see 0006626. For Italian edition see 0006441. For Harper Torchbook edition see 0005842. For Princeton edition see 0000402."