亨利·摩尔全部影视作品
 纽黑文邮船 | - |
| 夏天清晨的海湾 | - |
| 卡茨鲍斯远岸风景 | - |
| 亨利·摩尔 | - |
| 雨后 | - |
| 彩虹 | - |
| 西风 | - |
| 家庭成长 | - |
| 过去 | - |
| 组成 | - |
| 斜倚图 | - |
| 三点 | - |
| 美洲豹 | This catalogue entry discusses a group of works; details of the individual work are given at the end of the introductory text. Henry Moore O.M., C.H. 1898-1986 P02838 - P02932 Gift of ninety-five lithographs and etchings made between 1970 and 1984. This is the latest part of Henry Moore's ongoing gift to the Tate Gallery's Print Collection of one copy of almost every impression he made. The previous donation was in 1982. The ninety-five prints were presented by the Henry Moore Foundation in 1985. Henry Moore's complete graphic oeuvre of 719 prints is recorded in four volumes and the volumes of this catalogue raisonné have been compiled by Gérald Cramer, Patrick Cramer, Professor Alistair Grant, Head of Printmaking at the Royal College of Art, London and David Mitchinson, Curator of Collections at the Henry Moore Foundation, in conjunction with the artist. The first two volumes were published by Gérald Cramer, and the last two by Patrick Cramer in Geneva. The catalogue raisonné reference number of each print is indicated as Cramer, followed by the volume number expressed in roman numerals (I to IV), followed by the number of the print within the volume. This reference can be found at the end of the pre-prose section of each entry. Most of the prints in this donation were made during the period 1980-4 and are contained within Cramer Volume IV, published in 1986, which covers Moore's output from 1980 to the spring of 1984 when ill health prevented him from producing further prints. All prints, if polychrome, are reproduced in Cramer in full colour while those in monochrome are printed in black on a tone colour. P02912 - P02926 Animals in the Zoo 1981-2, pub. 1983 Album of fifteen etchings, various sizes, on Arches paper , various sizes; plate-marks, various sizes; printed by James Collyer and John Crossley and published by Raymond Spencer Company for The Henry Moore Foundation, Much Hadham; artist's proofs aside from the edition of 80 albums |
| 覆盖的坐着的女人 | - |
| 三个站立人像 | Three Standing Figures 1945 is a plaster cast of a maquette for a larger version of the sculpture carved in stone, which is on permanent display in Battersea Park, London. The plaster cast, like the full-size sculpture, comprises three female figures in draped clothing standing in a semi-circular formation. The central and right-hand figures stand closer to each other forming a pair while the figure on the left faces them at a slight distance (fig.1). Each figure has been modelled individually and is positioned on a shallow rectangular plaster base. 1
The left-hand figure has lightly defined facial features and a bun of hair is positioned at the nape of her neck. She wears a long sleeveless tunic which is gathered in front of her navel and thighs. Her left arm is held against the side of her body, while a gap is discernable between her body and her right arm. She stands in a seemingly unnatural position with both knees bent, in contrast to the central figure, who appears to stand contrapposto with her left knee bent and the right leg straight. This figure appears to be wearing a long-sleeved cloak, open at the chest and the right shoulder. A large bundle of fabric wraps the circumference of her body around the hips. Her right elbow is bent and her forearm is positioned on her chest, holding the drapery across her breasts. Three vertical lines suggest drapery on the rear of the figure’s legs, while the only feature on the face is a single circular impression, which may represent an eye. The figure on the right shares this same single physiognomic feature, which suggests that although her body is facing inwards, she is looking out to her left. This figure’s right arm hangs by her side while her left arm, which appears to be in a sling, is positioned horizontally across her waist. A swathe of fabric wraps around her body on a diagonal, from the left hip down to the right thigh. Origins and facture Context and interpretation Alice Correia January 2014 Notes
1 This sculpture is identified with the number 258 in the artist’s catalogue raisonné. See David Sylvester (ed.), Henry Moore. Volume 1: Complete Sculpture 1921–48 , 1957, revised edn, London 1988, p.164. Although only the original terracotta and a bronze edition are listed in this volume, the two existing plaster casts are also identified with this number in Anita Feldman and Malcolm Woodward, Henry Moore: Plasters , London 2011, pp.50–1.
2 A.D.B. Sylvester, ‘The Evolution of Henry Moore’s Sculpture II’, Burlington Magazine , vol.90, no.544, July 1948, p.190.
3 Will Grohmann, The Art of Henry Moore , London 1960, p.145.
4 Herbert Read, Henry Moore: A Study of his Life and Work , London 1965, p.169.
5 Ibid., p.170.
6 For more on the Shelter Drawings see Andrew Causey, The Drawings of Henry Moore , London 2010, p.114.
7 Henry Moore, ‘Sculpture in the Open Air – A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites’, March 1955, reprinted in Philip James (ed.), Henry Moore on Sculpture , London 1966, pp.103, 108.
8 Kenneth Clark, Henry Moore: Drawings , London 1974, p.119.
9 Moore 1955, reprinted in James 1966, pp.103, 108.
10 Clark 1974, p.119.
11 Ibid., p.120.
12 Ibid., p.119.
13 Sylvester 1948, p.193.
14 Roger Cardinal, ‘Henry Moore: In the Light of Greece’, in Henry Moore: In the Light of Greece , exhibition catalogue, Basil and Elise Goulandris Foundation Museum of Contemporary Art, Andros 2000, pp.28–9.
15 Moore 1955, reprinted in James 1966, pp.103, 108.
16 Christa Lichtenstern, Henry Moore: Work-Theory-Impact , exhibition catalogue, London 2008, p.135.
17 Grohmann 1960, p.145.
18 See Thierry Maulnier, ‘Towards a New Classicism’, Horizon , vol.12, no.71, November 1945, pp.301–9.
19 Ibid., p.309.
20 Sylvester 1948, p.195.
21 George Wingfield Digby, Meaning and Symbol in Three Modern Artists: Henry Moore, Edvard Munch, Paul Nash , London 1955, p.64.
22 Erich Neumann, The Archetypal World of Henry Moore , London 1959, pp.94–5.
23 John Russell, Henry Moore , London 1968, p.115.
24 Henry Moore cited in David Finn, Henry Moore: Sculpture and Environment , New York 1977, p.234.
25 Robert Melville, Henry Moore: Sculpture and Drawings 1921–1969 , London 1970, p.22.
26 Sylvester 1948, p.193.
27 Grohmann 1960, p.145. |
| 站立的女人 | Standing Woman is an early example of Moore’s interest in the female nude, a subject that would dominate his later work. The woman is depicted contrapposto, meaning that her weight is unevenly distributed; her right knee is bent causing her left leg to stand straight and her left hip to be raised slightly. Her right arm hangs down by her side while her left arm is wrapped behind her back and bent at the elbow so that the forearm points up towards her right shoulder. Her head is slightly turned to the left. When viewed from behind, the figure’s left hand appears to be clasping her (now damaged) hair. The visible chisel marks on the right side of her torso and underneath the breasts contrast with the figure’s legs and back, which have been smoothed. This suggests that the sculpture was either left unfinished or that Moore sought the appearance of a sculpture that was not quite completed, judged by conventional standards.
In the catalogue raisonné of Moore’s work, which was published in 1957 and thus in the artist’s lifetime, Standing Woman was dated 1924. Subsequent published literature repeated this information. However, on entering the Tate collection in 1994 its date of creation was revised to 1922. It is unclear why this date was changed and it has subsequently been corrected.
Moore was a student at the Royal College of Art (RCA) in London from 1921 to 1924. When Moore carved Standing Woman it is likely that it was a personal project rather than a required piece of coursework for the RCA. Moore had arrived at the college as a mature student, aged twenty-three, having served in the British army during the First World War. When Moore began the course, academic teaching of sculpture focused almost entirely on figuration, and was concerned above all with the styles and techniques of ancient Greek and Roman statuary and Italian Renaissance art. Under the leadership of Professor Francis Derwent Wood (1871–1926), a member of the Royal Academy, students in the RCA sculpture department were taught how to copy classical sculptures by accurately modelling replicas in clay or plaster before using a pointing machine to create a stone copy. 1 Students were required to copy historical sculptures, working from plaster casts from the college’s collection, or from originals housed in London’s museums. In this way they would gain training not only in traditional sculpting techniques but also in the styles and subjects of the art of the past. 2 Moore made Head of the Virgin after Rosselli 1922–3 (fig.1), a copy of the fifteenth-century Italian artist’s Virgin and Child , housed in the Victoria and Albert Museum, as a piece of coursework. 3 Here he attempted to make the stone look like skin; the figure’s cheeks appear to be soft, her lips are plump and flesh-like while the folds of her delicate headscarf look as though they could move in a breeze. Although Head of the Virgin after Rosselli appears to have been made using a traditional pointing machine, Moore said he carved the work freehand, making fake ‘point’ marks on the surface of the marble so as to deceive his tutor. 4 As Moore recalled in 1968, ‘no original carving was permitted’. 5 Indeed, while Moore recognised the value of attending life-drawing classes, which enhanced his understanding of the three-dimensional figure, he quickly realised that the classical style and sculptural techniques that the RCA promoted were of little interest to him. In order to balance his own interests with the demands of his course Moore later recalled: Alice Correia November 2012 Notes
1 A pointing machine is a measuring tool used by sculptors to make like-for-like copies of sculptures. The device is not really a machine but a collection of adjustable rods on an armature which are used to measure specific points on the surface of modelled sculpture. The tool measures the width, height and depth of these points from a chosen position and these dimensions are then used to accurately carve into a block of stone or wood. Each time a point (or measurement) is taken, a small hole is drilled into the corresponding block of stone to indicate the point to which the sculptor should carve. The first point of reference is the highest relief point; on a sculpture of a head this might be a protruding nose. This ensures that the sculptor does not carve away too much material. Carvings made with the use of a pointing machine are often pockmarked, where the point has been drilled fractionally too deep. For an example of a sculpture made with a pointing machine with visible point marks, see Auguste Rodin, The Kiss 1901–4 (Tate N06228 ).
2 Ian Dejardin, ‘Catalogue’, in Henry Moore at Dulwich Picture Gallery , exhibition catalogue, Dulwich Picture Gallery, London 2004, p.37.
3 For Domenico Rosselli, Virgin and Child 1450–98, see http://collections .vam .ac .uk /item /O137490 /virgin -and -child -relief -rosselli -domenico / , accessed 15 November 2012.
4 See John Hedgecoe (ed.), Henry Moore , London 1968, p.33. Moore’s subversive act when making the work is possibly one of the reasons why the work survived while his other pieces of coursework did not.
5 Ibid., p.33.
6 See John and Véra Russell, ‘Conversations with Henry Moore’, Sunday Times , 17 December 1961, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, pp.47, 230.
7 See Hedgecoe 1968, p.33.
8 Henry Moore quoted in Hedgecoe 1968, p.450.
9 Henry Moore cited in David Sylvester, ‘Henry Moore talking to David Sylvester’, 7 June 1963, transcript of Third Programme , BBC Radio, broadcast 14 July 1963, Tate Archive TGA 200861, pp.19–20. An edited version of this conversation was published in the Listener , 29 August 1963, pp.305–7.
10 Wyndham Lewis (ed.), Blast , London 1914. For a digitised version of the magazine see the Modernist Journals Project , http://dl .lib .brown .edu /mjp /render .php ?id =1143209523824844 &view =mjp_object , accessed 30 July 2012.
11 Donald Hall, Henry Moore: The Life and Work of a Great Sculptor , London 1966, p.50.
12 Ibid., p.50.
13 Henri Gaudier-Brzeska, ‘Vortex’, in Lewis 1914, p.155.
14 Henry Moore, ‘In Conversation with Huw Wheldon, c.1983’, reprinted in Wilkinson 2002, p.151.
15 Paul Cézanne, letter to Emile Bernard, 15 April 1904, reprinted in Charles Harrison and Paul Wood (eds.), Art in Theory 1900–2000: An Anthology of Changing Ideas , Oxford 2003, p.33
16 Sir Michael Sadler was an important influence on Moore and was a prominent early collector of his sculpture. Sadler believed in the necessity of a broad education and the centrality of the arts in everyday life. At Leeds, Sadler was active in the University’s arts, drama and music societies, and he established a programme of public lectures on the arts by invited speakers including Roger Fry. Sadler also gave lectures on artists such as Cézanne, Gauguin and van Gogh, based on works in his own collection. Sadler was at the centre of artistic activities in Leeds and as an educationalist made his collection available as much as possible, frequently lending and showing items to artists and students in the city. In later life Moore acknowledged the importance of Sadler to his artistic education noting that ‘he really knew what was going on in modern art’. See Russell 1961 reprinted in Wilkinson 2002, p.44. Henry Moore’s sculpture Figure 1931 (Tate T00240 ) was formerly in Sadler’s collection.
17 Moore’s first visit to Paris is often listed as occurring in 1923 (see, for example, David Sylvester (ed.), Henry Moore. Volume 1: Complete Sculpture 1921–48 , 1957, 5th edn, London 1988, p.xxxviii), but more recent scholarship has proved that the trip took place in 1922; see Wilkinson 2002, p.49.
18 See Wilkinson 2002 p.49–50. Whitsun is the seventh Sunday after Easter, which in 1922 fell on 4 June. The Monday following Whitsun was a Bank Holiday until 1971.
19 Henry Moore quoted in John Hedgecoe, Henry Moore. My Ideas, Inspiration and Life as an Artist , London 1986, pp.150–1.
20 See for example John Russell, ‘Introduction’, in Henry Moore: Stone and Wood Carvings , exhibition catalogue, Marlborough Fine Art, London 1961, p.5.
21 Herbert Read, Henry Moore: A Study of his Life and Work , London 1965, p.53. Among these pairs were Moore’s Standing Woman 1923 and Gaudier-Brzeska’s Red Stone Dancer c.1913 (Tate N04515 ).
22 Richard Cork, Wild Thing: Epstein, Gaudier-Brzeska, Gill , exhibition catalogue, Royal Academy of Arts, London 2009, pp.31, 74.
23 Henry Moore, ‘A View on Sculpture’, Architectural Association Journal , May 1930, p.408, reprinted in Wilkinson 2002, p.188.
24 See Alan Wilkinson, ‘Introduction: “Perfect Symmetry is Death”’, in Wilkinson 2002, p.17.
25 Andrew Causey, The Drawings of Henry Moore , London 2010, p.24.
26 Terry Friedman, ‘1921–1929’, in Henry Moore: Early Carvings 1920–1940 , exhibition catalogue, Leeds City Art Galleries, Leeds 1982, pp.22–3.
27 See Ann Garrould (ed.), Henry Moore. Volume 1: Complete Drawings 1916–29, London 1996, p.63, no.22–24.45
28 When not at college, Moore could be found, in his own words, ‘Tate-ing or Museuming’; see Henry Moore, ‘Letter to Jocelyn Horner, Autumn 1921’, as quoted in Friedman 1982, p.21. See also Henry Moore, Henry Moore at the British Museum , London 1981, p.13.
29 Dejardin 2004, p.161.
30 There were many examples of ancient Greek caryatids in the British Museum that Moore would have been aware of. See, for example, Caryatid from the Erechtheion c.420 BC, http://www .britishmuseum .org /explore /highlights /highlight_objects /gr /c /caryatid_from_the_erechtheion .aspx , accessed 30 July 2012.
31 Moore cited in Wilkinson 2002, p.187.
32 Ibid.
33 See Gemma Levine, Henry Moore: Wood Sculpture , London 1983, p.54, reprinted in Wilkinson 2002, p.251.
34 See David Sylvester (ed.), Henry Moore. Volume 1: Complete Sculpture 1921–48 , London 1957, p.4.
35 Henry Moore, letter to Michael Tollemache, 7 January 1969, Henry Moore Foundation Archive.
36 A photograph of Moore dated c.1922–3 standing in his sister’s garden next to Dog 1922 and Mother and Child 1922 is reproduced in Jane Beckett and Fiona Russell (eds.), Henry Moore Critical Essays , Aldershot 2003, p.150. |
| 家庭组的模型 | These maquettes , or preparatory models, were made during the mid-1940s, when Moore was working on a commission for a sculpture for a progressive school for children and parents. The theme of the family was particularly relevant. In the end none of Moore's designs were chosen. Four years later he re-considered these models when planning a commission for a similarly progressive school, Barclay Secondary School in Stevenage. A cast of the full scale Family Group he made for the school is on display in this gallery. Later still, Moore used these maquettes as source material for the other family groups. |
| 大型图腾头 | Large Totem Head is an upright bronze sculpture with a smooth curved back and a concave front bisected down the centre by a vertical column or spine (fig.1). This feature accentuates the symmetrical qualities of the sculpture, which give it the appearance of an organic specimen, like a fruit sliced open to reveal its core. Seen from the rear the sculpture appears to take the form of a curved ovoid that expands outwards from the base before contracting inwards towards the top (fig.2). Both the base and the top of the sculpture are flat, as though their tips have been sliced off. From the side it is evident that the sculpture leans forward, creating the impression that it is top heavy (fig.3). From plaster to bronze Large Totem Head is an enlarged version of a smaller sculpture called Head: Boat Form , which Moore made in 1963 (fig.4). This earlier work is the same shape as Large Totem Head , and features the same central spine and hollowed cavity, but is positioned horizontally, resting on the bulge of its back. In this position it is easy to identify the sculpture as a small rowing boat or dinghy, as suggested by its title. It is unclear why Moore decided in 1968 to revisit and enlarge this earlier sculpture, although at this stage in his career it was not uncommon for him to revise earlier works; in 1968 Moore also enlarged Large Slow Form (Tate T02290 ) from a small sculpture made in 1962. Moore felt justified to enlarge smaller works because he believed that ‘A small sculpture only three or four inches big can have a monumental scale ... When the work has this monumentality about it, then you can enlarge it almost to any size you like, and it will be alright; it will be correct’. 1 Sources and contexts The Henry Moore Gift Alice Correia September 2013 Notes 1 Henry Moore cited in Warren Forma, Five British Sculptors: Work and Talk , New York 1964, pp.67, 73, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations , Aldershot 2002, p.207. 2 Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work , London 1978, p.123. 3 John Read in Henry Moore: One Yorkshireman Looks at His World , dir. by John Read, television programme, broadcast BBC 2, 11 November 1967, http://www .bbc .co .uk /archive /henrymoore /8807 .shtml , accessed 3 November 2013. 4 Henry Moore in ‘Henry Moore Talking to David Sylvester’, 7 June 1963, transcript of Third Programme , broadcast BBC Radio, 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener , 29 August 1963, pp.305–7.) 5 Julie Summers, ‘Fragment of Maquette for King and Queen’, in Claude Allemand-Cosneau, Manfred Fath and David Mitchinson (eds.), Henry Moore From the Inside Out: Plasters, Carvings and Drawings , Munich 1996, p.126. Between 1967 and 1968, when the enlargement process was probably undertaken, Moore’s assistants included Colin Barker, John Farnham, Ramy Shuklinsky, Richard Wentworth and Yeheskiel Yardini. 6 Henry Moore, letter to Heinz Ohff, 8 March 1967, Henry Moore Foundation Archive. 7 ‘Henry Moore Talking to David Sylvester’, 7 June 1963, pp.3–4, Tate Archive TGA 200816. 8 Robert Melville, Henry Moore: Sculpture and Drawings 1921–69 , London 1970, p.19. 9 Moore was an avid reader of surrealist periodicals and during the 1930s his work was reproduced in Minotaure and the International Surrealist Bulletin . See Julia Kelly, ‘The Unfamiliar Figure: Henry Moore in French Periodicals of the 1930s’, in Jane Beckett and Fiona Russell (eds.), Henry Moore: Critical Essays , Aldershot 2003, pp.43–65. 10 Christa Lichtenstern, ‘Henry Moore and Surrealism’, Burlington Magazine , vol.123, no. 944, November 1981, p.657. 11 Henry Moore, ‘On Carving’, New English Weekly , 5 May 1932, pp.65–6, reprinted in Wilkinson 2002, p.190. 12 Christa Lichtenstern, ‘Large Totem Head’, in David Mitchinson (ed.), Celebrating Moore: Works from the Collection of the Henry Moore Foundation , London 2006, p.287. 13 Ibid., p.288. 14 Ibid. 15 Richard Calvocoressi, ‘T.2302 Large Totem Head’ in The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions , London 1981, p.141. 16 See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4. 17 These figures are based on those listed in a memo in the exhibition’s records; see Tate Public Records TG 92/344/2. 18 Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4. 19 See Judith Jeffries, letter to Joanna Drew, 3 October 1978, Tate Public Records TG 4/9/400/1. |
| 三向片的工作模型 No.1: 点 | Working Model for Three Way Piece No.1: Points is a bronze sculpture composed of irregular-shaped forms that display different features from different angles, encouraging consideration of the sculpture in the round. Curved bulbous forms merge into sharp-edged projections creating recessed areas and arches that convey a sense of dynamism and energy (fig.1). Standing on its base at three tapered points, the sculpture appears to be almost weightless, despite its bulky mass. Two of these points are rounded in shape, and are positioned side by side, separated by a shallow arch. The third point is much sharper and narrower in form and is located on the other side of the base, creating a large arched space underneath the central core of the sculpture. One of the two rounded legs curves up smoothly towards an elliptical form defined by sharp edges that juts out prominently at an angle (fig.2). In contrast, the second of these legs rises up vertically towards a rounded ridge that extends down and outwards to create a thin, overhanging fin-like form. Behind this, a similar wedge-shaped protrusion emerges from the apex of the ridge, separated from the overhanging fin by a concave curve (fig.3). The third, sharper point on which the sculpture rests extends from a more distinct, highly polished curved form that loosely resembles the shape of a canine tooth. It is connected to the other side of the sculpture by a bridge of bronze that stretches over the central arch (fig.4). Early exhibitions and reviews The Henry Moore Gift Alice Correia October 2013 Notes 1 John Read in Henry Moore: One Yorkshireman Looks at His World , dir. by John Read, television programme, broadcast BBC2, 11 November 1967, http://www .bbc .co .uk /archive /henrymoore /8807 .shtml , accessed 3 November 2013. 2 David Sylvester, Henry Moore , exhibition catalogue, Tate Gallery, London 1968, p.53. 3 Henry Moore in ‘Henry Moore talking to David Sylvester’, 7 June 1963, transcript of Third Programme , BBC Radio, broadcast 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener, 29 August 1963, pp.305–7.) 4 Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work , London 1978, p.124. 5 See Richard Wentworth, ‘The Going Concern: Working for Moore’, Burlington Magazine , vol.130, no.1029, December 1988, p.928. For a discussion of Moore’s enlargement methods see Anne Wagner, ‘Scale in Sculpture: The Sixties and Henry Moore’, Tate Papers , no.15, Spring 2011, http://www .tate .org .uk /research /publications /tate -papers /scale -sculpture -sixties -and -henry -moore , accessed 13 August 2013. 6 Julie Summers, ‘Fragment of Maquette for King and Queen’, in Claude Allemand-Cosneau, Manfred Fath and David Mitchinson (eds.), Henry Moore From the Inside Out: Plasters, Carvings and Drawings , Munich 1996, p.126. 7 Alan Bowness (ed.), Henry Moore. Volume 4: Complete Sculpture 1964–73 , London 1977, p.11. 8 Henry Moore, letter to Heinz Ohff, 8 March 1967, Henry Moore Foundation Archive. 9 See technique and condition report. 10 See ‘Henry Moore talking to David Sylvester’, 1963, pp.3–4. 11 See ‘Three Way Piece Number 1: Points’, Museum Without Walls: AUDIO , https://www .youtube .com /watch ?v =5Rv7VVHP2kE , accessed 3 October 2013. 12 Bowness 1977, p.9. 13 Henry Moore cited in John Hedgecoe (ed.), Henry Moore , London 1968, p.501. 14 Bowness 1977, p.9. 15 Henry Moore, ‘Statement for Unit One’, in Herbert Read (ed.), Unit One: The Modern Movement in English Architecture, Painting and Sculpture , London 1934, pp.29–30, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations , Aldershot 2002, p.191. 16 Ibid., p.191. 17 Sylvester 1968, p.53. 18 Jennifer Mundy, ‘Comment on England’, in Chris Stephens (ed.), Henry Moore , exhibition catalogue, Tate Britain, London 2010, p.28. 19 Ibid., p.28. 20 Jean Arp cited in James Thrall Soby (ed.), Arp , New York 1958, pp.14–15. 21 See John Russell, Henry Moore , 1968, revised edn, London 1973, p.74; and Michel Remy, Surrealism in Britain , Aldershot 1999, p.70. 22 Sylvester 1968, p.128. 23 Ibid., p.128. 24 Russell 1973, p.224. 25 Ibid., pp.231, 233. 26 For example, with the exception of two essays on Atom Piece , none of the chapters in the book Henry Moore: Critical Essays address the late work. See Jane Beckett and Fiona Russell (eds.), Henry Moore: Critical Essays , Aldershot 2003. 27 Peter Fuller, Henry Moore: An Interpretation , London 1993, p.46. 28 Christa Lichtenstern, Henry Moore: Work-Theory-Impact , London 2008, pp.175–87. 29 Herbert Read, Henry Moore: A Study of his Life and Work , London 1965, p.235. 30 Anon., ‘Bacon and Moore Again in Powerful Relation’, Times , 14 July 1965, p.15. 31 Terence Mullaly, ‘Magicians of Art Can Still Cause Surprise’, Daily Telegraph , 16 July 1965, Henry Moore Foundation Archive. 32 Norbert Lynton, ‘Reality Abandoned’, Guardian , 29 July 1965, p.6. 33 Ibid., p.6. 34 Norbert Lynton, ‘Anthony Caro at Kasmin Limited’, Guardian , 16 November 1965, p.8. 35 Albert Elsen, ‘The New Freedom of Henry Moore’, Art International , vol.11, no.7, September 1967, p.42. 36 Ibid., p.42. 37 Ibid., p.42. 38 Ibid., p.43. 39 See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4. 40 These figures are based on those listed in a memo in the exhibition’s records. See Tate Public Records TG 92/344/2. 41 Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4. 42 The cast in Ottawa was presented to Canada by the British government, along with 10,000 books, to mark Canada’s Centennial in 1967. |
| 三件斜倚人像 No.1 | Three Piece Reclining Figure No.1 is one of two three-part sculptures created by Henry Moore between 1961 and 1963. The other sculpture, Three Piece Reclining Figure No.2: Bridge Prop 1963, is also held in the Tate collection (Tate T02292 ). In both cases the figure has been divided into three separate forms positioned on a base, one of which rises vertically to a central point and may be understood to represent a head and torso, which in turn implies that the smaller middle section represents an abdomen or hip area, while the section at the other end occupies the position of the legs. The main bulk of the torso is made up of bulbous forms and irregular, faceted shapes. On the back, two large concave depressions are separated by a ridged backbone that leads up to broad, rounded shoulders. What appears to represent a head actually takes the form of a thin wedge-shaped protrusion with an uneven upper face that juts forwards and upwards from the outstretched neck (fig.1). The bottom of the torso is attached to the base at three points that form arched spaces underneath the body. The middle piece is the smallest of the three segments. It also rests on the base at three points, two of which swell upwards in a similar way to the large lateral forms of the torso piece, forming what appear to be two distinct masses. One side of the right-hand form has a smooth, rounded surface while the other side appears to have been carved into, revealing bulbous, ridged surfaces. The left-hand form has one flat face and similar irregular surfaces traversing its other sides. The two forms appear to be joined only by a smaller, disk-like shape that protrudes outwards towards the leg section of the sculpture (fig.2). From plaster to bronze Sources and development Critical reception The Henry Moore Gift Alice Correia August 2013 Notes 1 Henry Moore cited in ‘Henry Moore Talking to David Sylvester’, 7 June 1963, transcript of Third Programme , BBC Radio, broadcast 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener , 29 August 1963, pp.305–7.) 2 Ibid., p.29. 3 Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work , London 1978, p.57. 4 Henry Moore cited in Donald Hall, ‘Henry Moore: An Interview by Donald Hall’, Horizon , November 1960, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations , Aldershot 2002, p.226. 5 Henry Moore cited in John Hedgecoe (ed.), Henry Moore , London 1968, p.300. 6 Moore cited in ‘Henry Moore Talking to David Sylvester’, 7 June 1963, p.10, Tate Archive TGA 200816. 7 See Roger Berthoud, The Life of Henry Moore , 1987, 2nd edn, London 2003, pp.323–4. 8 Henry Moore, letter to Heinz Ohff, 8 March 1967, Henry Moore Foundation Archive. 9 Henry Moore, letter to Cleeve Horne, 15 May 1962, Henry Moore Foundation Archive. Horne was acting as an intermediary for the CIBC in Montreal, Quebec, which subsequently acquired a cast of the sculpture directly from the artist. 10 See ‘Henry Moore Talking to David Sylvester’, 7 June 1963, pp.3–4, Tate Archive TGA 200816. 11 Ibid., pp.31–2. 12 Moore cited in Hedgecoe 1968, p.77. 13 [Richard Morphet], ‘T.2054 Henry Moore: Four-Piece Composition 1934’, The Tate Gallery 1976–8: Illustrated Catalogue of Acquisitions , London 1979, p.121. 14 Moore cited in Hedgecoe 1968, p.75. 15 [Morphet] 1981, p.130. 16 Alan G. Wilkinson, Henry Moore Remembered: The Collection at the Art Gallery of Ontario in Toronto , Toronto 1987, p.202. 17 Ibid. 18 Donald Hall, Henry Moore: The Life and Work of a Great Sculptor , London 1966, p.160. 19 Henry Moore cited in John Hedgecoe (ed.), Henry Moore: My Ideas, Inspiration and Life as an Artist , London 1986, p.35. 20 John Russell, Henry Moore , 1968, revised edn, London 1973, p.213. 21 Ibid., p.213. 22 Robert Melville, Henry Moore: Sculpture and Drawings 1921–1969 , London 1970, p.29. 23 John Read, Portrait of an Artist: Henry Moore , London 1979, p.82. 24 [David Thompson], ‘New Work by Henry Moore and Francis Bacon’, Times , 12 July 1963, p.5. 25 Bryan Robertson, ‘Moore and Bacon’, Listener , 25 July 1963, pp.127–8. 26 Eric Newton, ‘Power’, Guardian , 12 July 1963, p.9. 27 Nigel Gosling, ‘Vision and Nightmare: Art’, Observer , 14 July 1963, p.27. 28 Ibid., p.27. 29 In March 1978 Moore wrote to Tate Director Norman Reid informing him that he had to reduce the number of works in the Gift from thirty-eight to thirty-six because he had since discovered that some of the works that were initially reserved for the Tate actually belonged to his daughter Mary and so were not his to give: ‘The sculptures I am giving to the Tate number 36 in all. At some previous time the number had been given as 38, but when it came to finalise the list, it was discovered that four sculptures ... had already been given by me to my daughter, Mary, at a date previous to 1969. I mentioned this to my daughter and she very generously agreed to give up two of the works, Glenkiln Cross and Three Piece Reclining Figure No.1 , to make my Tate gift a fuller representation of my work.’ Henry Moore, letter to Norman Reid, 16 March 1978, Tate Archive, TG4/6/10/4. 30 See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4. 31 These figures are based on those listed in a memo in the exhibition’s records; see Tate Public Records TG 92/344/2. 32 Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4. 33 See Judith Jeffries, letter to Joanna Drew, 3 October 1978, Tate Public Records TG 4/9/400/1. |