Published by Art / Books. Edited by Hannah Higham. Text by Sebastiano Barassi, Tania Moore, Jon Wood.
Displaying skill and ambition from a young age, Moore (1898–1986) spent his early years studying the art of the past and of his contemporaries, absorbing a wide variety of sculptural ideas. In this book, Sebastiano Barassi presents a lively account of this formative period, from Moore’s school years through his active service in the First World War and student life at Leeds School of Art, and culminating with his move to the Royal College of Art in London and subsequent entry into the world of contemporary sculpture. What is revealed is a rich story of friendships, mentors and collectors, a range of artistic influences and dialogues with other leading figures from the British and European avant-gardes.
Published by Hayward Gallery Publishing. Foreword by Caroline Douglas. Text by Benedict Read.
This beautiful small-format book presents a range of key works by the major English sculptor, Henry Moore (1898–1986), and examines his early relationship with the Arts Council Collection (ACC) as advisor to its acquisitions committee in the early 1950s. Henry Moore was a major force in shaping the sculpture collection of the ACC, advocating the acquisition of a significant group of postwar British sculpture by such artists as Kenneth Armitage, Lynn Chadwick and Barbara Hepworth. Moore himself is strongly represented in the Collection (art historian Kenneth Clark, a critical figure in the history of the ACC, encouraged Moore to donate his early works), and 26 works--including sculptures, prints and drawings--are reproduced here in color, accompanied by critical commentary by Benedict Read. This is a succinct history of Henry Moore’s practice between 1929 and 1962.
Published by Royal Academy Publications. Text by Anita Feldman.
This is the first book on Moore s works in plaster, which until recently have been regarded as preparatory works rather than finished sculptures. But in fact the scarred surfaces of the plasters convey a sense of immediacy and a complexity of texture that is largely absent from highly finished works in bronze and marble. Acutely aware of the aesthetic changes that occurred in his sculptures once he cast them, Moore made a number in plaster only. This reappraisal of the significance of these beguiling creations illustrated with plasters of all sizes from three decades of work uncovers a little-known aspect of Moore s incomparable oeuvre.
Published by JRP|Ringier. Edited by Gregor Muir. Text by Anne M. Wagner, Mary Moore, Matthew Collings.
Henry Moore: Ideas for Sculpture sheds new light on the work of Henry Moore (1898–1986), recording the much-admired contemporary architect Zaha Hadid's design of a display environment for the exhibition of Moore's sculptures and drawings. Hadid and Moore share a proclivity for fluid organic form, and for this project Hadid created curvaceous white linen walls and a giant horseshoe-shaped plinth. This volume collects the documentation of this adventurous installation, presenting reproductions of sculptures and sketches by Moore alongside Mary Moore's detailed account of their conception. It also includes an essay on the exhibition by writer and television presenter Matthew Collings, and a text by art historian Ann Wagner about Moore's works on paper, many of which were exhibited here for the first time. Ideas for Sculpture provides fresh perspective on the oeuvre of the late master, whose creative vision and presence in public life were key to the reception of modernity in England.
Published by Royal Academy Publications. Text by Christa Lichtenstern.
Henry Moore is one of the key figures in modern sculpture. Christa Lichtenstern's authoritative study explores the sculptor's guiding principles and considers his artistic development, from his study of Greek antiquity and his fascination with early Italian sculpture to his interest in English heritage and culture. Christa Lichtenstern is Director of the Kunstgeschichtlichen Institut at the University of Saarbrucken, Germany.
Published by Kerber. Essays by Susanne Pfleger, Christa Lichtenstien, Maria Sabine Schmidt, and Hans-Joachim Throl.
Who amongst us has never though, especially while lying somewhere in a rolling countryside, that the natural landscape and the human figure share much of their forms? Henry Moore, the celebrated English sculptor, created a century-spanning oeuvre that perfectly illustrates his comment, "knees and breasts are mountains." The human figure and the landscape were two of his enduring fascinations, and he successfully combined them in such sculptural works as Woman (1957-58) and Reclining Figure: Hand (1979), wherein he related the female form to undulating hills. The multiple-piece compositions that he began in 1959 break the figure down more dramatically into separate monumental masses resembling rock formations. The transformation of the body into landscape is not restricted to Moore's three-dimensional work but also appears in drawings such as Mountain (Reclining Woman) (1982) and Rock Form (1979). In his works on paper, Moore's viewpoint ranges from an ant's-eye view, looking up at towering natural features, to a bird's-eye view of imagined worlds.