Henry Moore

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Henry Moore
Moore's bronze "Die Liegende" (located in Stuttgart) is typical of his early reclining figures.
Birth name	Henry Spencer Moore
Born	30 July 1898 Castleford, Yorkshire England
Died	31 August 1986 (aged 88) England
Nationality	English
Field	sculpture, drawing
Training	Leeds
Movement	Abstract Bronze Sculpture, Modernism
Works	Reclining Figures, 1930s - 1980s
Influenced by	Michelangelo, Giovanni Pisano, Gothic art, Pre-Columbian art
Influenced	Sir Anthony Caro, Phillip King, Isaac Witkin (former assistants)
Awards	OM CH FBA

Henry Spencer Moore OM CH FBA, (30 July 1898 – 31 August 1986) was an English artist and sculptor. He is best known for his abstract monumental bronzes which can be seen in many places around the world as public works of art. Moore's subjects are usually abstractions of the human figure, typically mother-and-child or reclining figures. Apart from a phase of family groups in the 1950s, his subject matter is nearly always female.

Moore's figures are characteristically pierced, or contain hollow spaces. Many interpret the undulating form of his reclining figures as references to the landscape and hills of Yorkshire where he was born.

The son of a mining engineer, Moore was born in Castleford, Yorkshire. He became well-known for his larger-scale abstract cast bronze and carved marble sculptures. Moore helped to introduce a particular form of modernism to the United Kingdom. His ability to satisfy large-scale commissions made him exceptionally wealthy towards the end of his life. However, he lived frugally and most of his wealth went to endow the Henry Moore Foundation, which continues to support education and promotion of the arts.

[edit] Biography

[edit] Early life and education

Moore was born in Castleford, West Yorkshire, England, the seventh of eight children to Raymond Spencer Moore and Mary Baker. His father had immigrated from Ireland and was a mining engineer who rose to be under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature and saw formal education as the route to advancement for his children, determined that his sons would not work down the mine.^[1] Henry was the seventh child in a family that often struggled with poverty.^[1] He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements. That year a teacher noticed his talent and interest in medieval sculpture and granted him a scholarship to Castleford Secondary School,^[2] as several of his brothers and sisters had done. There, his art teacher introduced him to wider aspects of art, and with her encouragement he determined to make art his career and sit examinations for a scholarship to the local art college. Despite his showing early promise, Moore's parents were against him training as a sculptor, which they saw as manual labour without much prospect of a career. Instead, after a brief introduction as a student teacher, he became a teacher at the school he had attended.

On turning eighteen, Moore was called up into the army. He was he youngest man in the Prince of Wales's Own Civil Service Rifles regiment, and was injured in 1917 in a gas attack during the Battle of Cambrai.^[3] After recovering in hospital, he saw out the remainder of the war as a physical training instructor. In stark contrast to many of his contemporaries, Moore's wartime experience was largely untroubled. He said later, "for me the war passed in a romantic haze of trying to be a hero."^[4] After the war, he received an ex-serviceman's grant to continue his education and became the first student of sculpture at Leeds School of Art in 1919—the school had to set up a sculpture studio especially for him.

While at Leeds, Moore met fellow art student Barbara Hepworth, and began a friendship which lasted for many years. In Leeds, he had access to a wide number of works owned by Sir Michael Sadler, the University Vice-Chancellor.^[5] In 1921, Moore won a scholarship to study at the Royal College of Art (RCA) in London, where Hepworth had gone the year before. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.

Chac Mool, Chichen Itza site, Yucatan Peninsula, Mexico. This reclining Toltec-Maya figure influenced Moore's sculpture.

Both Moore and Hepworth's early sculptures follow the standard romantic Victorian style; including natural forms, landscapes and figurative modeling of animals. Moore later felt uncomfortable with classically derived ideals, and his later familirality with primitivism and the influence of sculptors such as Brancusi, Epstein and Dobson, lead to direct carving in which imperfections in the material and tool marks were incorporated onto the finished sculpture. With this technique, Moore had to fight against academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of Sculpture at the RCA), Moore was asked to reproduce a marble relief of Rosselli's The Virgin and Child,^[6] by first modelling the relief in plaster then reproducing it in marble using the mechanical technique of 'pointing'. Instead, he carved the relief directly, even marking the surface to simulate the surface prick marks that would have been left by the pointing machine. Nevertheless, in 1924, he won a six month traveling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto, Giovanni Pisano and several other Old Masters. It was also during this period that he visited Paris and saw, in the Louvre a plaster cast of a Toltec-Maya sculpture, Chac Mool. This reclining figure was to have a profound effect upon Moore's work and provide its main motif for the rest of his life.

[edit] Hampstead

West Wind, 1928-1929; Moore's first public commission which was carved from Portland stone and shows the influence of both Michelangelo's figures for the Medici Chapel and the Chac Mool figure.

On returning to London, Moore undertook a seven-year teaching post at the RCA. He was required to work two days a week, which allowed him of time to spend on his own work. His first public commission, West Wind (1928-29) was one of the eight 'winds' reliefs high on the walls of London Underground's headquarters at 55 Broadway.^[7] The other 'winds' were carved by contemporary sculptors including Eric Gill. In July 1929, Moore married Irina Radetsky, a painting student at the RCA — Irina was born in Kiev on 26 March 1907 to Russian-Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather’s relatives in Buckinghamshire.

Despite her troubled childhood, Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the pair moved to a studio in Hampstead on Parkhill Road, joining a small colony of avant-garde artists who were starting to take root there. Shortly afterward, Hepworth and her partner Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose and the art critic Herbert Read also lived in the area. This led to a rapid cross-fertilization of ideas that Read would publicize, helping to raise Moore's public profile. The area was also a stopping off point for a large number of refugee architects and designers from continental Europe en route to America many of whom would later commission works from Moore.

In 1932, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art.^[8] Artistically, Moore, Hepworth and other members of the The Seven and Five Society would develop steadily more abstract work,^[9] partly influenced by their frequent trips to Paris and contact with leading progressive artists, notably Picasso, Braque, Arp and Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement the Unit One Group in 1933. Both Moore and Nash were on the organizing committee of the London International Surrealist Exhibition, which took place in 1936. In 1937 Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The piece proved controversial with other residents and a campaign was run against the piece by the local press over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modeling preliminary maquettes in clay or plaster.

Family Group (1950) bronze, sited at the entrance to Barclay School, Stevenage, Hertfordshire, England. Moore's first large scale commission following the Second World War.

This inventive and productive period was brought to an end by the outbreak of the Second World War. The Chelsea School of Art evacuated to Northampton and Moore resigned his teaching post. During the war, Moore was commissioned as a war artist, notably producing powerful drawings of Londoners sleeping in the London Underground while sheltering from the blitz.^[10] These drawings helped to boost Moore's international reputation, particularly in America.

After their Hampstead home was hit by bomb shrapnel in 1940, he and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. This was to become Moore's final home and workshop. Despite acquiring significant wealth later in life, Moore never felt the need to move to a larger home and apart from adding a number of outbuildings and workshops, the house changed little.

[edit] Later years

After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore in March 1946.^[11] The child was named after Moore's mother, who had died a couple of years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many mother-and-child compositions, although reclining figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York.^[12] Kenneth Clark became an unlikely but influential champion of Moore's work^[13]and through his position as member of the Arts Council of Great Britain secured exhibitions and commissions for the artist. In 1948 he won the International Sculpture Prize at the Venice Biennale^[14] and was one of the featured artists of the Festival of Britain in 1951^[15] and Documenta 1 in 1955.

Towards the end of the war, Moore had been approached by Henry Morris who was in the process of trying to reform education with the concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge and he wanted Moore to design a major public sculpture for the site. Unfortunately, the County Council could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.^[16] Fortunately, Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large scale public bronze.

Henry Moore, photographed by Lothar Wolleh c. 1970s

In the 1950s, Moore began to receive increasingly significant commissions, including a Reclining Figure^[17] for the UNESCO building in Paris in 1957. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ a number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.

On the campus of the University of Chicago, twenty-five years to the minute (3:36 p.m., December 2, 1967) after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what used to be the University's football field bleachers, in the squash courts beneath which the experiments had taken place.^[18] This twelve-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."^[19] Also, in Chicago, Illinois, United States, Moore commemorated science with Man Enters the Cosmos, which was commissioned to recognize the space exploration program.^[20]

Knife Edge – Two Piece, 1962, bronze, opposite the House of Lords, London

The last three decades of Moore's life continued in a similar vein, with several major retrospectives around the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. The number of commissions continued to increase; he completed Knife Edge Two Piece in 1962 for College Green near to the Houses of Parliament in London. According to Moore,

"When I was offered the site near the House of Lords... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park — one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it."^[21]

As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from death duties. By 1977 he was paying about a million pounds a year in income tax, and so to mitigate this tax burden he established the Henry Moore Foundation as a registered charity with Irina and Mary as trustees. The Foundation was established to promote the public appreciation of art and to preserve Moore's sculptures. It now runs Hoglands as a gallery and museum of Moore's workshops.

Moore turned down a knighthood in 1951, as he felt it would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".^[22] In 1955 he was awarded the Companion of Honour and the Order of Merit in 1963. He was a trustee of both the National Gallery and Tate Gallery.^[23] His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society,^[24] which had been founded to campaign for a separate museum in which the whole Turner Bequest^[25] might be reunited, an aim defeated by the National Gallery and Tate Gallery.

Panorama of the Art Gallery of Ontario's Henry Moore collection, the largest public collection of the sculptor's works in the world.

Henry Moore died on 31 August, 1986, at the age of 88, in his home in Hertfordshire. His body is interred in the Artists' Corner at St Paul's Cathedral. On 15 December 2005, thieves entered the courtyard of the Henry Moore Foundation and stole a bronze statue worth £3m ($5.3m). The 1969/1970 work, known as Reclining Figure LH608 is 3.6 m long, 2 m high by 2 m wide and weighs 2.1 tonnes. A substantial reward has been offered by the Foundation for information leading to its recovery. It is feared it may have been stolen to melt down as scrap metal.^[26][27]

[edit] Style

Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.

Nok sculpture, Terracotta, ca. 6th century BC–6th century CE, the Louvre. Moore was introduced to African sculpture while at Leeds.

Earlier figures are pierced in a conventional manner, where bent limbs separate from and rejoin the body. The later more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with Barbara Hepworth's sculptures.^[28] Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. The "Reclining Figure" (1951) outside the Fitzwilliam Museum, Cambridge, is characteristic of Moore's later sculptures, with an abstract female figure intercut with voids. There are several bronze versions of this sculpture, however this is made from painted plaster.

When Moore's niece asked why his sculptures had such simple titles, he replied:

"All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know." ^[29]

[edit] Technique

Moore's early work is focused on direct carving in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s Moore's transition into Modernism paralleled that of Barbara Hepworth with both sculptors bouncing new ideas off each other and several other artists living in Hampstead at the time. Moore made many preparatory sketches and drawings for each sculpture. Most of these sketchbooks have survived, and provide an insight into his development. He placed great importance on drawing, even when he had arthritis he still was able to draw.^[30]

Henry Moore, Reclining Figure, 1951, Fitzwilliam Museum, Cambridge

After the Second World War, Moore's bronzes took on their larger scale, particularly suited for the public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the maquettes. By the end of the 1940s, he increasingly produced sculptures by modelling, working out the shape in clay or plaster before casting the final work in bronze using the lost wax technique. At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he often produced a half-scale, working model before scaling up for the final moulding and casting at a bronze foundry. Moore often refined the final full plaster shape and added surface marks before casting.

[edit] Legacy

Moore had signicant influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are Sir Anthony Caro,^[31] Phillip King ^[32] and Isaac Witkin,^[33] all three having been assistants to Moore. Other artists whose work were influenced by him include Lynn Chadwick, Eduardo Paolozzi, Bernard Meadows, Reg Butler, William Turnbull, Robert Adams, Kenneth Armitage, and Geoffrey Clarke.^[34]

Today, the Henry Moore Foundation manages the Henry Moore Institute in Leeds which supports exhibition and research activities into international sculpture. While by the Foundation's own admission general interest in Moore's work has declined since his death, the institutions he endowed continue to play an essential role in promoting contemporary art in the United Kingdom.

[edit] Gallery

Two Piece Reclining Figure No. 5, Bronze, 1963–1964, in the grounds of Kenwood House, London	Three Piece Reclining figure No.1, 1961, Yorkshire Sculpture Park	Locking Piece, 1963 Bronze, presented to the Tate Gallery and now sited in Millbank near the Tate Britain	Double Oval, 1966, Henry Moore Foundation
Oval with Points, 1968-1970, Henry Moore Foundation	Hill Arches, 1972-1973, Bronze, National Gallery of Australia

[edit] Citations

[edit] Bibliography

• Henry Moore: At Dulwich Picture Gallery. Scala Publishers, 2004. ISBN 1-85759-352-9
• Grohmann, Will. The Art of Henry Moore. New York: H.N. Abrams, 1960.
• Hedgecoe, John. A Monumental Vision: The Sculpture of Henry Moore. Collins & Brown. ISBN 1-55670-683-9
• Kosinski, Dorothy (ed). Henry Moore: Sculpting the 20th Century. New Haven and London: Dallas Museum of Art/Yale University Press, 2001
• Beckett, Jane; Russell, Fiona. Henry Moore: Space, Sculpture, Politics. Burlington, Vermont: Ashgate, 2003. ISBN 0-7546-0836-0
• O'Reilly, Sally; Oliver, Clare. Henry Moore. Scholastic Library, 2003 ISBN 0-531-16643-0
• Seldis, Henry J. Henry Moore in America. Praeger Publishers and the Los Angeles County Museum of Art.
• Sylvester, David. Henry Moore. Arts Council of Great Britain, London, 1968

[edit] External links

Wikimedia Commons has media related to:

Henry Moore

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Henry Moore

• Biography from the Henry Moore foundation
• Review in Sculpture Magazine
• Henry Moore Foundation
• 3D model of 'Recumbent Figure' from the Tate
• The UNESCO Works of Art Collection