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X-Ray
幻灯片播放Composition
Cubist Influence
1933
400.0 x 584.0 cm
British Council
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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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艺术家简介
Henry Moore (1898–1986): Sculptural Process and Public Identity
Henry Spencer Moore, born on July 30, 1898, in Castleford, Yorkshire, England, was an English visual artist who profoundly reshaped the landscape of modern British sculpture. His formative years amidst the rugged beauty of his birthplace instilled a lifelong fascination with organic forms—particularly those mirroring the undulating hills and valleys of Yorkshire—a fascination that would permeate his artistic vision throughout his prolific career. Raymond Spencer Moore (1848–1922), his father, was a self-taught man who championed education, steering young Henry away from the traditional path of a miner towards formal schooling; this early influence nurtured a belief in intellectual exploration and laid the groundwork for Moore’s artistic pursuits.Early Artistic Exploration and Formal Education
Moore's innate talent for modeling clay and carving wood emerged early on, foreshadowing his future vocation. Recognizing his exceptional aptitude, Castleford Secondary School’s art teacher fostered his burgeoning creativity—a pivotal moment that propelled him toward a deeper engagement with artistic principles. He pursued further studies at Leeds School of Art before embarking on a transformative journey to the Royal College of Art in London, immersing himself in the study of classical sculpture alongside pioneering movements like Cubism. However, Moore wasn’t merely adopting stylistic trends; he synthesized these influences into something wholly original—a synthesis characterized by an unwavering commitment to exploring form and space through abstraction.The Influence of Mexican Pre-Columbian Art
A pivotal encounter occurred during Moore's visit to Mexico in 1925, where he was captivated by the monumental sculptures of the Aztec civilization. The striking simplicity and geometric precision of these works liberated him from representational constraints—a liberation that fueled his experimentation with abstraction and solidified his fascination with exploring fundamental artistic concepts. This experience profoundly impacted his aesthetic sensibilities, inspiring him to embrace forms devoid of explicit detail while retaining a palpable sense of dynamism and visual interest.Sculptural Style and Recurring Themes
Moore’s sculptural style evolved over time—characterized by rounded, organic shapes that echoed the natural world and often incorporating voids or openings—a stylistic hallmark that distinguished his oeuvre from conventional artistic practices. He consistently revisited two central themes: the reclining figure and the mother and child—motifs imbued with profound emotional depth and reflecting universal human experiences. These sculptures weren’t idealized representations but honest explorations of form, volume, and spatial relationships—demonstrating Moore's ability to translate sculptural principles into evocative visual narratives.Public Commissions and Legacy
The Second World War spurred Moore’s artistic endeavors—particularly his documentation of Londoners sheltering from the Blitz in Underground stations—resulting in a series of poignant drawings that captured the resilience, fear, and communal spirit of the era. These *Shelter Drawings* stand as testament to Moore's capacity for translating sculptural vision into two-dimensional form—a feat that cemented his reputation as one of Britain’s foremost sculptors. Subsequently, he received numerous prestigious public commissions—allowing him to create monumental sculptures for educational institutions and civic spaces—reflecting his conviction that art should serve the broader community and fostering artistic innovation across generations. Henry Moore's enduring influence on twentieth-century art remains undeniable—a legacy characterized by a courageous challenge to conventional sculptural norms and an unwavering devotion to exploring form, space, and human connection.- Notable Sculptures: *Reclining Figure*, *Family Group*, *Shelter Drawings*
- Influences: Classical Sculpture, Cubism, Mexican Pre-Columbian Art
- Key Characteristics: Rounded Forms, Organic Shapes, Void Spaces
亨利·摩尔
1898 - 1986 , 英国
基本信息
- Artistic Movement Or Style: 现代主义，抽象雕塑
- Date Of Birth: 1898年7月30日
- Date Of Death: 1986年8月31日
- Full Name: 亨利·斯宾塞尔·摩尔
- Nationality: 英国
- Notable Artworks:
- 卧姿人物
- 庇护画作
- Place Of Birth: 英国约克郡卡斯特福德
