Sculpture - Escultura: Henry Moore - 1930-40 - Links
Posted by Ricardo Marcenaro | Posted in Sculpture - Escultura: Henry Moore - 1930-40 - Links | Posted on 20:09
Open your mind, your heart to other cultures
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Henry Moore
Girl
1931
Ancaster stone
Henry Moore
Figure
1931
Wood (beech)
Henry Moore
Half-figure 1932
Armenian marble
object: 686 x 381 x 279 mm
sculpture
Bequeathed by E.C. Gregory 1959
In 1932, the year he carved this, Moore was appointed Head of Sculpture at Chelsea School of Art. The pose of this figure is reminiscent of earlier carved portrait busts, but the abstracted treatment of the forms indicate Moore's interest in non-western art. In later life Moore wrote of his admiration for an Egyptian sculpture of a seated woman in the British Museum collections. He particularly enjoyed the way her head-dress was 'freed from the body so that you can look through its arches to the delicate neck inside'. In this sculpture Moore has created a similar effect by making a space between the figure's hair and her neck.
Armenian marble
object: 686 x 381 x 279 mm
sculpture
Bequeathed by E.C. Gregory 1959
In 1932, the year he carved this, Moore was appointed Head of Sculpture at Chelsea School of Art. The pose of this figure is reminiscent of earlier carved portrait busts, but the abstracted treatment of the forms indicate Moore's interest in non-western art. In later life Moore wrote of his admiration for an Egyptian sculpture of a seated woman in the British Museum collections. He particularly enjoyed the way her head-dress was 'freed from the body so that you can look through its arches to the delicate neck inside'. In this sculpture Moore has created a similar effect by making a space between the figure's hair and her neck.
Henry Moore
Composition 1932
African wonderstone
object: 445 x 457 x 298 mm
sculpture
Presented by the Friends of the Tate Gallery 1960
African wonderstone
object: 445 x 457 x 298 mm
sculpture
Presented by the Friends of the Tate Gallery 1960
Henry Moore
Four-Piece Composition: Reclining Figure 1934
Cumberland alabaster
object: 175 x 457 x 203 mm
sculpture
This work is carved in alabaster, dug from fields in Cumbria. The bone or stone-like shapes reflect Moore’s interest in organic and inorganic forms, while the incised lines echo both prehistoric stone carving and the work of Pablo Picasso. The individual pieces appear abstract, but also evoke a reclining female body, as Moore explained:
I realised what an advantage a separated... composition could have in relating figures to landscape. Knees and breasts are mountains. Once these... parts become separated you don’t expect it to be a naturalistic figure: therefore you can justifiably make it like a landscape or not.
Cumberland alabaster
object: 175 x 457 x 203 mm
sculpture
This work is carved in alabaster, dug from fields in Cumbria. The bone or stone-like shapes reflect Moore’s interest in organic and inorganic forms, while the incised lines echo both prehistoric stone carving and the work of Pablo Picasso. The individual pieces appear abstract, but also evoke a reclining female body, as Moore explained:
I realised what an advantage a separated... composition could have in relating figures to landscape. Knees and breasts are mountains. Once these... parts become separated you don’t expect it to be a naturalistic figure: therefore you can justifiably make it like a landscape or not.
Henry Moore
Drawing 1935
Chalk, charcoal and wash on paper
support: 343 x 419 mm frame: 460 x 550 x 20 mm
on paper, unique
Purchased 1959
Chalk, charcoal and wash on paper
support: 343 x 419 mm frame: 460 x 550 x 20 mm
on paper, unique
Purchased 1959
Henry Moore
Recumbent Figure 1938
Green Hornton stone
object: 889 x 1327 x 737 mm, 520 kg
sculpture
This is one of the earliest works in which Moore shows the female figure undulating like the landscape. It was commissioned by the architect Serge Chermayeff to stand on the terrace of his home on the Downs. Visually, the figure would have acted as a bridge between the rolling hills and the ultra-modern house. Moore, like others, used many native British stones at this time. This Hornton stone came from a quarry near Banbury in Oxfordshire.
Green Hornton stone
object: 889 x 1327 x 737 mm, 520 kg
sculpture
This is one of the earliest works in which Moore shows the female figure undulating like the landscape. It was commissioned by the architect Serge Chermayeff to stand on the terrace of his home on the Downs. Visually, the figure would have acted as a bridge between the rolling hills and the ultra-modern house. Moore, like others, used many native British stones at this time. This Hornton stone came from a quarry near Banbury in Oxfordshire.
Henry Moore
Four Forms, drawing for a Sculpture 1938
Drawing and watercolour on paper
support: 279 x 381 mm frame: 432 x 535 x 20 mm
on paper, unique
Drawing and watercolour on paper
support: 279 x 381 mm frame: 432 x 535 x 20 mm
on paper, unique
Henry Moore
Stringed Figure 1938/60
Bronze and elastic string
object: 273 x 343 x 197 mm
sculpture
The first, wooden, version of this sculpture was lost during the Second World War. Moore made a modified version in plaster in 1960 and cast it in bronze. In his use of strings in this and other sculptures of 1937-9 Moore was influenced by Naum Gabo's interest in articulating space. However, this practice is also an extension of Moore's interest in the intersection of space and solid as exemplified by pierced forms. Writing in 'Circle' the scientist J. D. Bernal stated that 'Negative curvature ... is characteristic of much modern work, as are subtle inflections and the use of nodal points.' This sculpture suggests, in an abstract way, a reclining female figure.
Bronze and elastic string
object: 273 x 343 x 197 mm
sculpture
The first, wooden, version of this sculpture was lost during the Second World War. Moore made a modified version in plaster in 1960 and cast it in bronze. In his use of strings in this and other sculptures of 1937-9 Moore was influenced by Naum Gabo's interest in articulating space. However, this practice is also an extension of Moore's interest in the intersection of space and solid as exemplified by pierced forms. Writing in 'Circle' the scientist J. D. Bernal stated that 'Negative curvature ... is characteristic of much modern work, as are subtle inflections and the use of nodal points.' This sculpture suggests, in an abstract way, a reclining female figure.
Henry Moore
Reclining Figure 1939
Bronze
object: 137 x 254 x 86 mm
sculpture
In the late 1930s Moore made six small Reclining Figures in lead. This is one of eight bronze casts after one of those lead originals. These sculptures relate to drawings which show that their shapes were suggested by bone or even rock formations. The relationship between body and land was of particular interest to Moore at this time since he had just completed a large 'Recumbent Figure' in green Hornton stone for the architect Serge Chermayeff's garden at Halland in Sussex. Stone could be carved to suggest cavities created by weathering; however, the medium of lead produced a different emphasis. The lead figures remind the viewer of the angular, skeletal framework underlying the human body.
Bronze
object: 137 x 254 x 86 mm
sculpture
In the late 1930s Moore made six small Reclining Figures in lead. This is one of eight bronze casts after one of those lead originals. These sculptures relate to drawings which show that their shapes were suggested by bone or even rock formations. The relationship between body and land was of particular interest to Moore at this time since he had just completed a large 'Recumbent Figure' in green Hornton stone for the architect Serge Chermayeff's garden at Halland in Sussex. Stone could be carved to suggest cavities created by weathering; however, the medium of lead produced a different emphasis. The lead figures remind the viewer of the angular, skeletal framework underlying the human body.
Henry Moore
Three Points 1939-40
Bronze
object: 140 x 190 x 95 mm
sculpture
Moore kept abreast of developments in Paris and contributed to the International Surrealist Exhibition in London. Several of his works explore feelings of uncertainty and anxiety that relate to Surrealism. The use of space in Three Points creates a sense of anticipation. Moore commented: ‘This pointing has an emotional or physical action in it where things are just about to touch but don’t... like the points in the sparking plug of a car... the spark has to jump across the gap’.
Bronze
object: 140 x 190 x 95 mm
sculpture
Moore kept abreast of developments in Paris and contributed to the International Surrealist Exhibition in London. Several of his works explore feelings of uncertainty and anxiety that relate to Surrealism. The use of space in Three Points creates a sense of anticipation. Moore commented: ‘This pointing has an emotional or physical action in it where things are just about to touch but don’t... like the points in the sparking plug of a car... the spark has to jump across the gap’.
Henry Moore
Reclining Figure 1939
Metal
overall: 170 x 330 x 134 mm, 10.4 kg
sculpture
Metal
overall: 170 x 330 x 134 mm, 10.4 kg
sculpture
You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
In the blog: Solitary Dog Sculptor I, the alphabetical guide is on the right side of the page
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Usted tiene una guía alfabética al pie de la página en el blog: solitary dog sculptor
En el blog: Solitary Dog Sculptor I, la guia alfabética está en el costado derecho de la página
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Sculpture - Escultura: Henry Moore - 1930-40 - Links
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