Osta koopia {{ artwork.title }}'st Composition

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When Henry Moore died in 1986, he left a legacy of primeval public monuments across the world. From Scotland to Saudi Arabia, his bronze and slate-coloured hulks brood over the landscape like monoliths from an earlier era, presiding over our global disasters with a prophetic power. Moore’s sculptures were born out of two world wars and the glories of the machine age, yet their rugged textures and simple forms were inspired by the Yorkshire countryside of his childhood. It was this duality, of nature and modernity, which instilled in the sculptures a timeless quality that has had a lasting universal appeal. It is perhaps because of this that Moore’s relationship with the British Council was a close one throughout his career. The British Council Collection includes sculptures, paintings, prints and sketches by the artist, and for many years his bronze sculpture Large Spindle Piece (1974) sat on a plinth outside their headquarters on The Mall in London.The sculptures featured in this exhibition were all made in the 1930s at a time when Moore was living in Hampstead with his wife, Irina Radetsky. The North London suburb was a playground of the bohemian set and many artists had settled there, including Barbara Hepworth, Ben Nicholson and Naum Gabo, all of whom had an influence on the young Moore. Each of the three sculptures plays a vital role in revealing Moore’s move towards abstraction. He had already rejected tradition, preferring non-Western art over classical figures of the Renaissance and the Graeco-Romans, and Girl with Clasped Hands, made the year after his marriage, is clearly inspired by an ancient Sumerian sculpture he had written about after visiting the British Museum. At the time, Moore had been very influenced by the critic Roger Fry, and in particular Fry’s book Vision and Design (1920), which propounded the theory of significant form. The eyes, hands and breasts of Girl with Clasped Hands evoke primitive sculpture, especially through the positive/negative switch Moore made by drilling holes into the breasts where the nipples should have been.The 1930s were also characterised by Moore’s admiration for Epstein and Brancusi, artists who insisted on direct carving and truth to materials. Moore was fascinated with Surrealism, too, and he even signed the manifesto in 1936. Composition, made in 1933, is an undulating concrete form that appears intent on stretching beyond the capabilities of its rigid medium. Its emerging breasts and nipple, and the yawning cavities, are suggestive of a human form struggling to break free. Moore’s love of Surrealism, coupled with his move towards abstraction, can be seen in this work as a friction between the two opposing forces.In 1934, he visited Spain, and as a consequence was very much affected by the outbreak of the Civil War in 1936. He petitioned Parliament on their non-intervention and even tried to travel to the country as part of a delegation of artists and writers that included Auden and Spender, but he was refused a travel permit by the British government. One of the sculptures to emerge out of this time is Mother and Child, a strange, amorphous form in which two figures appear to be melting into, or emerging out of, one another. Naturally, the work continues to embody Moore’s conflict between the opposing forces of Surrealism and abstraction, but more significantly it is highly charged emotionally, as a response to the outbreak of war in Spain. It was an early indication that this sculptor would become a powerful critic of the Second World War and a sensitive recorder of the plight of the common man caught in the crossfire.(C) Jessica Lack 2009

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A Life Sculpted in Form: The World of Henry Moore

Henry Spencer Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English visual artist. He is best known for his semi-abstract monumental bronze sculptures, which revolutionized modern British sculpture and cemented his place as one of the most influential artists of the twentieth century. Born in Castleford, Yorkshire, Moore’s early life instilled in him a profound appreciation for the natural world—a fascination that would permeate his artistic vision throughout his career. His father, Raymond Spencer Moore, was a self-taught man who championed education and steered Henry away from the traditional path of coal mining, recognizing his innate talent for modeling clay and carving wood. This formative experience nurtured a lifelong dedication to tactile exploration and established the bedrock for his sculptural endeavors.

Early Influences and Artistic Education

Moore’s formal artistic training commenced at Leeds School of Art in 1913, where he honed his skills under the guidance of influential instructors who championed classical sculpture alongside emerging modernist movements like Cubism. Recognizing Moore's exceptional aptitude, they encouraged him to pursue advanced studies at the Royal College of Art in London in 1921, fostering a synthesis of artistic traditions that would define his distinctive style. During this period, he immersed himself in the study of Michelangelo’s sculptures and wrestled with the challenge of representing human form in an increasingly abstract context—a struggle that ultimately liberated him from representational constraints.

The Breakthrough: Encountering Pre-Columbian Art

A transformative journey to Mexico in 1925 proved pivotal in shaping Moore's artistic trajectory. The encounter with Aztec sculptures profoundly impacted his aesthetic sensibilities, sparking a fascination with simplification and abstraction—a fascination that would propel him toward his signature style. He abandoned meticulous anatomical accuracy in favor of exploring organic forms and voids, mirroring the undulating curves of the Mexican landscape and reflecting a desire to capture the essence of human experience rather than its literal depiction. This stylistic shift signaled a decisive break from traditional sculpture and established Moore’s commitment to pursuing artistic innovation.

Sculptural Style and Recurring Themes

Moore's sculptural style evolved over time, yet remained remarkably consistent—characterized by rounded, organic shapes that evoke a sense of fluidity and serenity. He frequently employed voids or openings within his sculptures, manipulating light and space to create dynamic visual effects. His most recognizable motifs included the *reclining figure*, which became synonymous with his name, and the *mother and child* theme—representations imbued with profound emotional depth and capturing the intimacy of familial bonds. These sculptures were not idealized portraits but honest explorations of human connection, often reflecting anxieties and uncertainties of their time. Moore’s artistic vision was informed by a deep appreciation for the Yorkshire landscape—a fascination that would permeate his oeuvre and contribute to its enduring beauty.

Legacy and Recognition

Henry Moore's influence on twentieth-century art is undeniable. He championed abstraction as a means of conveying emotion and exploring fundamental questions about human existence, challenging conventional notions of form and space. His monumental bronzes transformed urban landscapes and inspired generations of artists—solidifying his reputation as one of Britain’s most celebrated sculptors. Throughout his life, Moore remained steadfast in his belief that art should be accessible to all, actively seeking opportunities to integrate his work into civic spaces and fostering artistic innovation through the establishment of the Henry Moore Foundation—a testament to his enduring legacy.

Notable Sculptures: *Reclining Figure*, *Family Group*, *Shelter Drawings*.
Influential Movements: Modernism, Abstract Sculpture
Key Characteristics: Rounded Forms, Organic Shapes, Void Spaces

Moore’s sculptures continue to captivate audiences worldwide—a testament to his artistic genius and a celebration of the enduring human spirit.

Henry Moore

1898 - 1986 , Ühenduvaimkond

Lühikesed faktid

Artistic Movement Or Style: Modernism, Abstrakti skulptuur
Artists Who Influenced This Artist: ['Michelangelo']
Date Of Birth: 30. juuli 1898
Date Of Death: 31. august 1986
Full Name: Henry Spencer Moore
Nationality: Inglismaa
Notable Artworks:
- Reclining Figure
- Family Group
- Shelter Drawings
Place Of Birth: Castleford, Ühenduvaimmikond

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