Henry Moore Artwork Catalogue
Henry Moore.
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6 GOODMAN Arnold. Sponsor's preface.
(Originally intended to celebrate Moore's 90th birthday this exhibition became a memorial. Chairman of the Henry Moore Foundation acknowledgements to Royal Academy and to Salomon Brothers).
7 GUTFREUND John H. Sponsor's preface.
(Chairman and Chief Executive Officer of Salomon Brothers Inc. expresses honour in presenting the exhibition and acknowledgement to the Henry Moore Foundation and associates).
9 DE GREY Roger. Foreword.
(President of the Royal Academy of Arts mentions Moore's support for the exhibition and the work of the Royal Academy of Arts. Acknowledges selection of sculpture by Bernard Meadows, drawings by Alan Wilkinson, design by Ivor Heal and coordination by Susan Compton).
12-13 Henry Moore: an introduction.
(Outline of Moore's fame and the chronological arrangement of the exhibits).
14-26 CORK Richard. An art of the Open Air: Moore's major public sculpture.
(Quotes texts by Moore in describing the artist's reserved response to commissions, and discusses West Wind, 1928-1929 Portland stone; Recumbent Figure, 1938 green Hornton stone; Northampton Madonna and Child, 1943-1944 Hornton stone; Family Group, 1948-1949 bronze; Dartington Memorial Figure, 1945-1946 Hornton stone; Reclining Figure: Festival, 1951 bronze; Time-Life Screen, 1952-1953 Portland stone and Draped Reclining Figure, 1952-1953 bronze; Bouwcentrum Wall Relief, 1955 brick; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Lincoln Center Reclining Figure, 1963-1965 bronze; Nuclear Energy, 1964-1966 bronze. These and other works are described with quotations. Related works are mentioned, as are some commissions which were abandoned or refused by Moore. Most of the later public works could not be described as commissions in the sense of making a sculpture specifically for a given space. One of a number of casts of large bronzes was used for the location. Commissions fed Moore's creative imagery, and the large scale of the West Wind, 1928 Portland stone gave him the confidence to undertake subsequent projects).
27-36 COMPTON Susan. Drawing and Sculpture: a timeless art for our time.
(Moore's prodigious output, and a discussion of his drawings, sculpture and general artistic and intellectual development from the 1920s onwards. Incorporates quotations from Moore's published statements, and refers to works on display. Outlines Moore's awareness of life drawing, Renaissance art, primitivism, natural forms, materials, Surrealism, Internal and External forms and politics. His career as a war artist is described, followed by classical references in The Rescue (See 0008810) and Prométhée (See 0008261). During the 1960s Moore did less drawing, his art was out of favour with young artists, but his reputation grew. Moore returned to drawing for pleasure in later part of his career).
37-44 FULLER Peter. Henry Moore: an English romantic.
(Moore represents the British romantic tradition despite the appearance of his early carvings. The sculptor's outlook at the time is seen as a high aesthetic revival of English landscape concepts, and parallels are seen in his sculpture and the theories of Ruskin. His experiments in form and the notion of transformation are described as romantic rather than modernist. The Shelter drawings, "among the finest ever produced in Britain", are almost a step backwards, and the aloofness of his immediate post-war sculpture recalls the English Romanesque. The classical overtones of his public art removed him from the modern movement, and led to a reaction away from his influence by younger sculptors. Fuller sees Moore's art of the 1960s however as the "truly great and original work of this era". In the Mother and Child, and Reclining Figures Moore eschewed technological imagery, and "revived and replenished an indigenous romantic tradition...they offer us an aesthetic and ecological harmony...Moore's reclining figures are perhaps the closest things to the great Gothic cathedrals (which Rushkin so dearly loved) that a secular age, like our own, can hope to produce").
45-48 Notes for the Essays.
49-168 The Plates.
169-291 The Catalogue.
(239 works dating between 1922 and 1983 all illustrated and with commentaries. Entries incorporate statements by Moore and other writers, together with bibliographical references. Arrangement: Sculpture 1922-1940, Drawings 1921-1940, Sculpture 1943-1961, Drawings 1940-1961, Sculpture 1959-1983 and Drawings 1970-1983).
292-295 Chronology with Major Exhibitions.
296 Selected Bibliography.<297>List of Lenders.
298-300 Index.
301-304 Royal Academy Trust, Friends of the Royal Academy, Sponsors of Past Exhibitions.
For exhibition book versions see 0011077, 0011078. Other publications and material issued at the time of the exhibition included Book of Days (see 0011083), Video Cassette (see 0011197), Audio Cassette (See 0011199), Pack of 12 Colour Slides (See 0011081), Gallery Guide (See 0011079). Background Material for Teachers (See 0011080), Press Pack (See 0011082), Notepad block, pencil, badge, reproductions, a dozen greetings cards, envelope, two dozen postcards (some in association with the British Museum Shelter Drawings exhibition (see 0000179), some from Yorkshire Sculpture Park, and other sources) two 1984 photographs of Moore by Rory Coonan, and other publicity leaflets, etc.
Bib. Number0011076
Henry Moore.
PublisherRoyal Academy of Arts
Place PublishedLondon
Year1988
Date & Collation(16 Sept-11 Dec).304pp(391 illus).Biog.Bibliog.Texts.Edited by Susan COMPTON.
LanguageEnglish
More InformationSponsored by Salomon Brothers and the Henry Moore Foundation. Paperback catalogue published in association with Weidenfeld and Nicolson (See also 0011077).6 GOODMAN Arnold. Sponsor's preface.
(Originally intended to celebrate Moore's 90th birthday this exhibition became a memorial. Chairman of the Henry Moore Foundation acknowledgements to Royal Academy and to Salomon Brothers).
7 GUTFREUND John H. Sponsor's preface.
(Chairman and Chief Executive Officer of Salomon Brothers Inc. expresses honour in presenting the exhibition and acknowledgement to the Henry Moore Foundation and associates).
9 DE GREY Roger. Foreword.
(President of the Royal Academy of Arts mentions Moore's support for the exhibition and the work of the Royal Academy of Arts. Acknowledges selection of sculpture by Bernard Meadows, drawings by Alan Wilkinson, design by Ivor Heal and coordination by Susan Compton).
12-13 Henry Moore: an introduction.
(Outline of Moore's fame and the chronological arrangement of the exhibits).
14-26 CORK Richard. An art of the Open Air: Moore's major public sculpture.
(Quotes texts by Moore in describing the artist's reserved response to commissions, and discusses West Wind, 1928-1929 Portland stone; Recumbent Figure, 1938 green Hornton stone; Northampton Madonna and Child, 1943-1944 Hornton stone; Family Group, 1948-1949 bronze; Dartington Memorial Figure, 1945-1946 Hornton stone; Reclining Figure: Festival, 1951 bronze; Time-Life Screen, 1952-1953 Portland stone and Draped Reclining Figure, 1952-1953 bronze; Bouwcentrum Wall Relief, 1955 brick; U.N.E.S.C.O. Reclining Figure, 1957-1958 travertine marble; Lincoln Center Reclining Figure, 1963-1965 bronze; Nuclear Energy, 1964-1966 bronze. These and other works are described with quotations. Related works are mentioned, as are some commissions which were abandoned or refused by Moore. Most of the later public works could not be described as commissions in the sense of making a sculpture specifically for a given space. One of a number of casts of large bronzes was used for the location. Commissions fed Moore's creative imagery, and the large scale of the West Wind, 1928 Portland stone gave him the confidence to undertake subsequent projects).
27-36 COMPTON Susan. Drawing and Sculpture: a timeless art for our time.
(Moore's prodigious output, and a discussion of his drawings, sculpture and general artistic and intellectual development from the 1920s onwards. Incorporates quotations from Moore's published statements, and refers to works on display. Outlines Moore's awareness of life drawing, Renaissance art, primitivism, natural forms, materials, Surrealism, Internal and External forms and politics. His career as a war artist is described, followed by classical references in The Rescue (See 0008810) and Prométhée (See 0008261). During the 1960s Moore did less drawing, his art was out of favour with young artists, but his reputation grew. Moore returned to drawing for pleasure in later part of his career).
37-44 FULLER Peter. Henry Moore: an English romantic.
(Moore represents the British romantic tradition despite the appearance of his early carvings. The sculptor's outlook at the time is seen as a high aesthetic revival of English landscape concepts, and parallels are seen in his sculpture and the theories of Ruskin. His experiments in form and the notion of transformation are described as romantic rather than modernist. The Shelter drawings, "among the finest ever produced in Britain", are almost a step backwards, and the aloofness of his immediate post-war sculpture recalls the English Romanesque. The classical overtones of his public art removed him from the modern movement, and led to a reaction away from his influence by younger sculptors. Fuller sees Moore's art of the 1960s however as the "truly great and original work of this era". In the Mother and Child, and Reclining Figures Moore eschewed technological imagery, and "revived and replenished an indigenous romantic tradition...they offer us an aesthetic and ecological harmony...Moore's reclining figures are perhaps the closest things to the great Gothic cathedrals (which Rushkin so dearly loved) that a secular age, like our own, can hope to produce").
45-48 Notes for the Essays.
49-168 The Plates.
169-291 The Catalogue.
(239 works dating between 1922 and 1983 all illustrated and with commentaries. Entries incorporate statements by Moore and other writers, together with bibliographical references. Arrangement: Sculpture 1922-1940, Drawings 1921-1940, Sculpture 1943-1961, Drawings 1940-1961, Sculpture 1959-1983 and Drawings 1970-1983).
292-295 Chronology with Major Exhibitions.
296 Selected Bibliography.<297>List of Lenders.
298-300 Index.
301-304 Royal Academy Trust, Friends of the Royal Academy, Sponsors of Past Exhibitions.
For exhibition book versions see 0011077, 0011078. Other publications and material issued at the time of the exhibition included Book of Days (see 0011083), Video Cassette (see 0011197), Audio Cassette (See 0011199), Pack of 12 Colour Slides (See 0011081), Gallery Guide (See 0011079). Background Material for Teachers (See 0011080), Press Pack (See 0011082), Notepad block, pencil, badge, reproductions, a dozen greetings cards, envelope, two dozen postcards (some in association with the British Museum Shelter Drawings exhibition (see 0000179), some from Yorkshire Sculpture Park, and other sources) two 1984 photographs of Moore by Rory Coonan, and other publicity leaflets, etc.