Sculpture - Escultura: Henry Moore - 1940-49 - Part 1 - Drawing - Dibujos - Links
Posted by Ricardo Marcenaro | Posted in Sculpture - Escultura: Henry Moore - 1940-49 - Part 1 - Drawing - Dibujos - Links | Posted on 16:11
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
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Two Seated Figures 1940
Watercolour, gouache and drawing on paper
support: 181 x 270 mm frame: 399 x 491 x 15 mm
on paper, unique
Watercolour, gouache and drawing on paper
support: 181 x 270 mm frame: 399 x 491 x 15 mm
on paper, unique
Two Seated Women 1940
Drawing and tempera on paper
support: 181 x 270 mm
on paper, unique
Drawing and tempera on paper
support: 181 x 270 mm
on paper, unique
Standing Figures 1940
Wax, coloured pencil, ink and watercolour on paper
support: 264 x 181 mm frame: 490 x 400 x 17 mm
on paper, unique
Purchased 1940
This drawing by Moore can be closely associated with his sculptures of the period. Typically, the forms suggest at once human bodies, shells and bones, and interior bodily shapes. For Moore, drawing was a kind of investigative process, which would throw up new ideas for sculpture. Instead of producing a single, resolved image, the sculptor would generally cover the paper with different, half-finished sketches.
Wax, coloured pencil, ink and watercolour on paper
support: 264 x 181 mm frame: 490 x 400 x 17 mm
on paper, unique
Purchased 1940
This drawing by Moore can be closely associated with his sculptures of the period. Typically, the forms suggest at once human bodies, shells and bones, and interior bodily shapes. For Moore, drawing was a kind of investigative process, which would throw up new ideas for sculpture. Instead of producing a single, resolved image, the sculptor would generally cover the paper with different, half-finished sketches.
Grey Tube Shelter 1940
Watercolour, gouache and drawing on paper
support: 279 x 381 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
One evening in autumn 1940, Moore took cover from an air raid in Belsize Park underground station. Looking around at the people sheltering there, he became 'fascinated by the sight of people camping out deep under ground'. On returning to his studio he made some drawings from memory. When Kenneth Clark, chairman of the War Artists Advisory Committee, saw the pictures he commissioned further drawings and appointed Moore as an official war artist.
Watercolour, gouache and drawing on paper
support: 279 x 381 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
One evening in autumn 1940, Moore took cover from an air raid in Belsize Park underground station. Looking around at the people sheltering there, he became 'fascinated by the sight of people camping out deep under ground'. On returning to his studio he made some drawings from memory. When Kenneth Clark, chairman of the War Artists Advisory Committee, saw the pictures he commissioned further drawings and appointed Moore as an official war artist.
Woman Seated in the Underground 1941
Gouache, pen and ink, ink wash, watercolour and crayon on paper
support: 483 x 381 mm frame: 750 x 642 x 26 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
Although many of the Shelter Drawings showed groups of people, some concentrated on individuals. In this picture a lone woman sits apart from the other shelterers. Swathed in layers of clothing, she stares out of the picture, anxiously clasping her hands. This sense of tension is heightened by the abrupt jump from foreground to background and the network of nervous, scratchy lines that describe the figure.
The apparent absence of period detail led some commentators to interpret such figures as timeless symbols of fear, vulnerability and endurance.
Gouache, pen and ink, ink wash, watercolour and crayon on paper
support: 483 x 381 mm frame: 750 x 642 x 26 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
Although many of the Shelter Drawings showed groups of people, some concentrated on individuals. In this picture a lone woman sits apart from the other shelterers. Swathed in layers of clothing, she stares out of the picture, anxiously clasping her hands. This sense of tension is heightened by the abrupt jump from foreground to background and the network of nervous, scratchy lines that describe the figure.
The apparent absence of period detail led some commentators to interpret such figures as timeless symbols of fear, vulnerability and endurance.
A Tilbury Shelter Scene 1941
Pen, watercolour, crayon, and gouache on paper
support: 419 x 381 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
During the winter of 1940-1 Moore, in his capacity as a war artist, was given access to London's public shelters. Though he concentrated on underground stations, he did make drawings of other shelters, including a vast area in the basement of a warehouse in Tilbury where he noted 'Figures lying against platform with great bales of paper above also making beds¿ Dramatic, dismal lit, masses of reclining figures fading to perspective point - Scribbles and scratches, chaotic foreground¿ Dark wet settings'.
Pen, watercolour, crayon, and gouache on paper
support: 419 x 381 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
During the winter of 1940-1 Moore, in his capacity as a war artist, was given access to London's public shelters. Though he concentrated on underground stations, he did make drawings of other shelters, including a vast area in the basement of a warehouse in Tilbury where he noted 'Figures lying against platform with great bales of paper above also making beds¿ Dramatic, dismal lit, masses of reclining figures fading to perspective point - Scribbles and scratches, chaotic foreground¿ Dark wet settings'.
Tube Shelter Perspective 1941
Pencil, ink, wax and watercolour on paper
support: 483 x 438 mm frame: 750 x 695 x 25 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
This picture was exhibited at the National Gallery in 1941. It was described in the catalogue as 'a terrifying vista of recumbent shapes, pale as all underground life tends to be pale; regimented, as only fear can regiment; helpless yet tense, safe yet listening, uncouth, uprooted, waiting in the tunnel for the dawn to release them. This is not the descriptive journalism of art. It is imaginative poetry of a high order.'
Pencil, ink, wax and watercolour on paper
support: 483 x 438 mm frame: 750 x 695 x 25 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
This picture was exhibited at the National Gallery in 1941. It was described in the catalogue as 'a terrifying vista of recumbent shapes, pale as all underground life tends to be pale; regimented, as only fear can regiment; helpless yet tense, safe yet listening, uncouth, uprooted, waiting in the tunnel for the dawn to release them. This is not the descriptive journalism of art. It is imaginative poetry of a high order.'
Shelter Scene: Bunks and Sleepers 1941
Watercolour, gouache and drawing on paper
support: 483 x 432 mm frame: 750 x 690 x 28 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
This picture was exhibited at an exhibition called War Pictures at the National Gallery in 1941. It was also reproduced in the exhibition catalogue. In his catalogue essay, the critic Eric Newton compared the war between Germany and Britain to 'the fundamental opposition between the sea's restless power and the land's opposing firmness'. The wave-like undulations of the figures lying in the foreground of the drawing and the vertical cliff of figures on the bunks correspond remarkably with Newton's analogy.
Watercolour, gouache and drawing on paper
support: 483 x 432 mm frame: 750 x 690 x 28 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
This picture was exhibited at an exhibition called War Pictures at the National Gallery in 1941. It was also reproduced in the exhibition catalogue. In his catalogue essay, the critic Eric Newton compared the war between Germany and Britain to 'the fundamental opposition between the sea's restless power and the land's opposing firmness'. The wave-like undulations of the figures lying in the foreground of the drawing and the vertical cliff of figures on the bunks correspond remarkably with Newton's analogy.
Shelterers in the Tube 1941
Pencil, pen and ink, watercolour and crayon on paper
support: 380 x 568 mm frame: 650 x 817 x 35 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
Pencil, pen and ink, watercolour and crayon on paper
support: 380 x 568 mm frame: 650 x 817 x 35 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
Pink and Green Sleepers 1941
Pencil, ink, gouache and wax on paper
support: 381 x 559 mm frame: 650 x 815 x 36 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
One critic, writing in 1943, described the Shelter Drawings in terms of natural phenomena. He compared the strange colours, scratchy lines and pitted surfaces to 'lichen of grey rock, the coloured texture of weather-worn stone, the fiery black and red of igneous formations of burning coal'
Such associations between Moore's shelterers and nature supported a general propaganda message that within the British people lived an indomitable, almost elemental force which would prevail whatever the threat.
Pencil, ink, gouache and wax on paper
support: 381 x 559 mm frame: 650 x 815 x 36 mm
on paper, unique
Presented by the War Artists Advisory Committee 1946
One critic, writing in 1943, described the Shelter Drawings in terms of natural phenomena. He compared the strange colours, scratchy lines and pitted surfaces to 'lichen of grey rock, the coloured texture of weather-worn stone, the fiery black and red of igneous formations of burning coal'
Such associations between Moore's shelterers and nature supported a general propaganda message that within the British people lived an indomitable, almost elemental force which would prevail whatever the threat.
Maquette for Madonna and Child 1943
Bronze
object: 140 x 76 x 76 mm
sculpture
Purchased 1945
Bronze
object: 140 x 76 x 76 mm
sculpture
Purchased 1945
The mother and child had been a major theme in Moore's work since the 1920s. Yet when the vicar of the Church of St Matthew, Northampton, invited Moore to make a sculpture of the Madonna and Child for the church, he was reluctant to accept. He felt unsure how to adapt his secular interests to the Christian tradition.
These bronzes are casts of the original terracotta models he made for the project. They are unusually naturalistic and steeped in references to religious art of the Renaissance. This suggests Moore was trying to produce a sculpture that people would find both modern and familiar.
Sculpture - Escultura: Henry Moore - 1940-49 - Part 1 - Drawing - Dibujos - Links
You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
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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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