Moore decided that travertine marble would be a more suitable material than bronze for the site chosen, in the north choir aisle of the cathedral, close to the main altar. Bowness, Alan and David Sulvester, editors. Subject: This abstract sculpture is made out of white travertine marble and is 157 inches tall with a width and depth of 72 inches. ’It may be my last work, and I want to give it the feel of having a religious connotation'.
During the Second World War Moore's interpretation of the theme emphasised the mother… The Raymond Spencer Company, Ltd. (Hertfordshire, England. 130-33, no. (12.6cm.) - Side 1 (in Studio) (needs Photoshop clean-up), Post Con. 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. In 1934, he visited Spain, and as a consequence was very much affected by the outbreak of the Civil War in 1936. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. JAHRHUNDERT, TEN FOR THE CENTURY A VIEW OF SCULPTURE IN BRITAIN, HENRY MOORE EINE RETROSPEKTIVE ZUM 100 GEBURTSTAG, HENRY MOORE SCULPTURES, DRAWINGS AND GRAPHICS 1922 TO 1984, THE ART OF HENRY MOORE SCULPTURES, DRAWINGS AND GRAPHICS 1921 TO 1984, HENRY MOORE ESCULTURAS, DUBUJOS, GRABADOS OBRAS 1921 -1982, HENRY MOORE SCULPTURE, DRAWINGS AND GRAPHICS 1921-1981, HENRY MOORE EXHIBITION OF SCULPTURE AND DRAWINGS, HENRY MOORE SCULPTURE AND DRAWINGS FROM 1924 TO 1964, HENRY MOORE EXPOSICION RETROSPECTIVA DE ESCULTURAS Y DIBUJOS, HENRY MOORE ESCULTURAS Y DIBUJOS 1928-1962, HENRY MOORE SCULPTURE AND DRAWINGS 1927-1959, HENRY MOORE SCULPTURE AND DRAWINGS 1923-1948, Italy, Milan, Padglione D'arte Contemporanea, Brazil, Brasilia, Centro Cultural Banco do Brasil, Brazil, Sao Paulo, Pinacoteca De Estado de Sao Paulo, Romania, Bucharest, National Museum Of Art, China, Guangzhou, Guangdong Museum Of Art, UK, Norwich, The Sainsbury Centre for Visual Arts, Austria, Vienna, Kunsthistorisches Museum, Australia, Sydney, Art Gallery Of New South Wales, Argentina, Buenos Aires, Museo Nacional De Bellas Artes, Bulgaria, Sofia, SS Cyril and Methodius International Foundation, Luxembourg, Musee National D'histoire Et D'art, USSR, Kyiv, Ukrainian Museum of Fine Arts, Switzerland, Martigny, Fondation Pierre Gianadda, India, New Delhi, National Gallery Of Modern Art, Hong Kong, Hong Kong, City Hall Memorial Garden, Venezuela, Caracas, Museo De Bellas Artes, Mexico, Mexico City, Museo De Arte Moderno, Portugal, Lisbon, Calouste Gulbenkian Foundation, Spain, Madrid, Palacio Velazquez Y Palacio De Cristal, Retiro Park, Scotland, Edinburgh, Scottish Arts Council, Hong Kong, Hong Kong City Hall Art Gallery, Japan, Tokyo, National Museum Of Modern Art, Canada, Ottawa, Ontario, National Gallery Of Canada, Canada, St Johns, Newfoundland, St Johns Art And Cultural Centre, Canada, Prince Edward Island, Charlottesville, Charlottetown Confederation Art Gallery And Museum, Canada, Toronto, Ontario, Art Gallery Of Ontario, Slovakia, Bratislava, Slovenska Narodna Galeria, Czechoslovakia, Bratislava, Slovak National Gallery, Brazil, Rio De Janeiro, Museu De Arte ContemporÃ¢nea de NiterÃ³i (MAC), Denmark, Humlebaek, Louisiana Museum Of Modern Art, Austria, Vienna, Akademie Der Bildenden Kunste, Italy, Rome, Galleria Nazionale D'arte Moderna, Poland, Wroclaw, Central Board Of Art Exhibitions, South Africa, Johannesburg, Johannesburg Art Gallery, Zimbabwe, Harare, Rhodes Centenary Museum & Art Gallery, South Africa, Port Elizabeth, King George VI Art Gallery, New Zealand, Wellington, National Art Gallery, New Zealand, Dunedin, Dunedin Public Art Gallery, New Zealand, Christchurch, Robert Mcdougall Art Gallery, New Zealand, Auckland, Aukland City Art Gallery, Canada, Vancouver, British Columbia, Vancouver Art Gallery, Canada, Winnipeg, Manitoba, Winnipeg Art Gallery, Canada, QuÃ©bec, Montreal Museum Of Fine Arts, Yugoslavia, Belgrade, Museum Of Contemporary Art, Yugoslavia, Zagreb, Zagreb City Art Gallery, Yugoslavia, Skopje, Skopje City Art Gallery, Germany, Bonn, Kunst Und Ausstellungshalle Der Bundersrepublik Deutschland, Netherlands, Rotterdam, Museum Boymans-Van Beuningen, Sweden, Goteborg, Konstmuseum, Konsthallen, Sweden, Stockholm, Royal Academy Of Free Arts, South Africa, Cape Town, South African National Gallery, Germany, Dusseldorf, Kunstverein fur die Rheinlande & Westfalen, France, Paris, Musee National D'art Moderne, Belgium, Brussels, Palais Des Beaux-Arts De Bruxelles, UK, Manchester, Manchester City Art Gallery.
Composed of swelling masses, the reclining mother tenderly cradles her small child. (15cm.) Updates and additions stemming from research and imaging activities are ongoing, with new content added each week.
Date 1931. Post Con. 6 vols. 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. - Detail of Baby in crook of Mother's arm from baby's front (in Studio), Post Con.
A rich, golden surface, punctuated by bright highlights and dark caverns, enhances the sculpture's warm, protective quality. Mother and Child
Moore began exploring the reclining figure motif in a series of …
Despite his continued interest in this subject, the sculptor resisted attaching any specific or symbolic meaning to it. Becoming Henry Moore … 6in. Two Piece Reclining Figure No.3 1961 (LH 478), Working Model for Reclining Figure (Lincoln Center) 1963-65 (LH 518), Two Piece Reclining Figure No.1 1959 (LH 457), Two Piece Reclining Figure No.5 1963-64 (LH 517). Nonetheless, one of his pupils, Frederick Francke, acquired Mother and Child from the Leicester Galleries and the work was to remain in his family until ten years ago. height 183cm
HENRY MOORE, TWO WOMEN WITH CHILDREN, 1945.ESTIMATE: £250,000—350,000. Two Women with Children also recalls the motif Mother and Child, a very important theme within the artist’s œuvre, which he revisited in a variety of mediums ranging from sculpture to drawing.. Moore managed to convey both the gravitas and timelessness of the traditional figurative pose of the Madonna and Child, … 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. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Creative Commons Attribution 4.0 International License. D. Mitchinson, Henry Moore, Sculpture with Comments by the Artist, London 1981, p. 90). 5in. The idea of a piece for St Paul’s was put to Moore in 1983, when he was recovering from a serious illness. HENRY MOORE & THE CLASSIC CANON OF MODERN SCULPTURE, ART AT THE ROCKFACE THE FASCINATION OF STONE, DE LA MOORE LA HIRST 60 DE ANI DE SCULPTURA BRITANICA (FROM MOORE TO HIRST: SIXTY YEARS OF BRITISH SCULPTURE), SIX EUROPEAN MASTERS: REDEFINING THE BODY, BLAST TO FREEZE: BRITISCHE KUNST IM 20. Mother and Child. 7, Leicester Galleries, London London, The Leicester Galleries, Exhibition of Sculpture and Drawings by Henry Moore, April 1931, no.
/ ARS, New York / DACS, London, Proper right back corner of base: Moore / 3 / 9, Proper left back edge of base, foundry mark: Morris / Singer / FOUNDERS / LONDON. 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.