Henry Moore's Sheep Sketchbook

Product Information

a b "Bronze Henry Moore work stolen from sculpture park". Evening Standard. 14 October 2013 . Retrieved 7 January 2023. Published as an album in deluxe and standard editions containing a text in English by the artist and twelve etchings CGM 196, 197, 199-201, 226-232, with CGM 225 on the cover. The deluxe edition has four additional etchings CGM 198, 233-235.

Nonetheless, he had a significant influence on the generation that followed him, influencing people as disparate as Eduardo Paolozzi, William Turnbull, and – since they were once employees in his workshop – Phillip King and Anthony Caro. Kosinski, Dorothy, ed. (2001). Henry Moore: Sculpting the 20th Century. New Haven: Yale University Press. Moore was a complex and deeply influential figure. His former student, the distinguished sculptor Anthony Caro, spoke for many younger artists when he noted in 1960 that Moore's picture "is not man-size, but screen-size." Yet, Caro also attested to the enormous impact Moore has had on an entire generation of British artists walking in his footsteps: "[He] provided an alphabet and a discipline within which to start to develop. His success has created a climate for all of us younger sculptors and has given us confidence in ourselves which without his effort we would not have felt."mother figure holding the child in various positions. Each group is three-dimensional, indicating that Moore conceived of the figure group as a sculpture from the beginning. The sculpture includes two forms, representing two animals – possibly two adult sheep, or a ewe with a lamb. Moore later wrote "The sculpture is in two related forms. One is solid and passive, resting firmly on the ground and strongly resistant - the other form, slightly larger and more active and powerful, but yet it leans on the lower form, needing it for support." [2] When Moore placed a cast of the sculpture in a field in Hertfordshire, he was pleased to see sheep sheltering under it or scratching themselves on it. https://www.henry-moore.org/shop/books-and-publications/henry-moore-publications/product/henry-moores-sheep-sketchbook# Instead, he utilized travertine marble, the very same material as the roof of the structure. This sculpture, which weighs 39 tons and is made up of four distinct slabs of material, is a monument to his flexibility. It has been compared to a modern-day Athena, the Greek deity of knowledge.

Sculpture in Rotterdam. van Adrichem, Jan; Bouwhuis, Jelle; Dölle, Mariette. 2002. Rotterdam: Centre for the Arts. p. 180. This fueled his passion for biomorphic shapes while also implying how the human figure may be disassembled into bits and reduced to fundamentals. Moore’s fascination with non-Western artwork gave most of his early work a frontal appearance, but as he grew older, he became more concerned about using three dimensions. This inspired him to incorporate “holes” into his sculpture so that the thing appears to emerge out of a missing core. Moore’s shapes were influenced by both the human body and the natural environment. Moore’s drawing, one of several of the subject made at this date, [1] gives a valuable insight into his working methods. The figures are drawn in pen and ink. Clustered lines indicate shadow or depth; their absence creates highlights. Through colour, a sense of an interior is conveyed, albeit without detail: this plain setting, with its square stools and bare floor, might be anywhere from a miner’s cottage in Yorkshire to ancient Greece. Between the figures is a network of pen marks suggesting a transfer of energy. The squared grid overlaying the image indicates that Moore was contemplating a further transformation of the image, whether through enlargement or translation to another medium.

Henry Moore

The UNESCO piece, created by Henry Moore, being moved in 1963 to allow for building work; UNESCO / Dominique Roger, CC BY-SA 3.0 IGO, via Wikimedia Commons In 1924, he spent six months touring France and Italy, where he was influenced by the works of Masaccio, Giotto, and Michelangelo. After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. [35] The child was named after Moore's mother, who had died two 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 and internal/external 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 City. [36] Britain's cultural elite battles to halt sale of Henry Moore sculpture". The Guardian. 3 November 2012 . Retrieved 7 January 2023.

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. [53] Nelson-Atkins Museum of Art, Kansas City – Collections – Henry Moore Artwork Catalogue". catalogue.henry-moore.org . Retrieved 30 July 2023. Earlier figures are pierced in a conventional manner, in which 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. [52] Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. [ citation needed] The plaster Reclining Figure: Festival (1951) in the Tate, is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture. [ citation needed] When Moore's niece asked why his sculptures had such simple titles, he replied,This catalogue entry discusses a group of works; details of the individual work are given at the end of the introductory text.