Sculpture: Vertical, Horizontal, Closed, Open

0023566 Sculpture: Vertical, Horizontal, Closed, Open Yale University Press New Haven

Moore's Three Standing Figures 1948 (LH 268) as an example of "functional verticality" in modern British sculpture. Similarity drawn to ancient Greek herms (p.28, illus. p.29). Upright Motive No.1: Glenkiln Cross 1955-56 (LH 377) and Three Upright Motives 1955-56 (LH 377, 379, 386) are reminiscent of totem poles, but also a crucifixion scene - compare Bacon's Three Figures (p. 40, illus. p.41). Moving onto the horizontal in sculpture, the Dartington Memorial Figure 1945-46 (LH 262), like John Michael Rysbrack's monument to Lord Harborough, raises herself up to face the viewer; Moore's reclining figures are "definitely awake" and "suggest the unfinished conversation" (p.84, illus. p.85); the Falling Warrior 1956-57 (LH 405) is unusual for Moore in that the figure is falling rather than rising (p.86, illus. p.87). His drawings of reclining figures, such as Shelter Scene: Bunks and Sleepers 1941 (HMF 1789) and some coal mining drawings, hint at the "space between life and death" (p.88, illus. p.89). Moore's West Wind 1928-29 (LH 58) is one of four winds commissioned by young sculptors for the London Underground HQ (p.94, illus. p.95)