Francis Watson, ‘Art at the South Bank Exhibition’. See ‘Note on the Henry Moore Gift’, 1978, Tate Public Records TG 4/6/10/4. John Read, ‘Working Model for Reclining Figure: Festival’, in David Mitchinson (ed.).

Reclining Figure. 1 It presents a reclining figure comprised of variously thin and bulbous tubular forms over which a dense network of lines created by string delineates and decorates the contours of the body. Modern Architectural Sculpture; edited by W. AUMONIER. William Feaver, ‘Henry Moore in All Directions’, For the exhibition catalogue accompanying Moore’s exhibitions in Canada and New Zealand see. Another bronze cast is housed in the collection of the Musée national d’art moderne, Paris, and other examples from the edition are believed to be held in private collections. Its majesty is unmistakable; it stretches straight up, rests upon the wedge of the arms and thrusts powerfully off with its shin bones; its vitality lies in the immense tension that runs from the base of the feet to the head, whose cleavage indicates conflict, the ‘age of anxiety’. Art History Revisited - Sundry writings and occasional lectures, Scotland's Royal Academy - All Tastes Catered for at 109th Exhibition, Leeds' Sculpture Collections: Illustrated Concise Catalogue. Katerina Loukopoulou, ‘The Mobile Framing of Henry Moore’s Sculpture in Post-War Britain’. When this process was complete Moore began working on the surface texture, using an array of tools including chisels and files to smooth the plaster to the desired finish (fig.12). David Mitchinson, ‘A Note on the Plasters’, in Claude Allemand-Cosneau, Manfred Fath and David Mitchinson (eds.). Reclining Figure 1969–70 (LH 608) is a bronze sculpture by English artist Henry Moore. In the last bronze, Reclining Figure, I think I have in some measure succeeded in this aim.

At one time the holes in my sculpture were made for their own sakes. Originally commissioned by the Arts Council of Great Britain for the 1951 Festival of Britain, Henry Moore’s Reclining Figure is the original plaster from which a bronze edition of the sculpture was cast. Moore was clear that he did not seek to imbue his reclining figures with a specific meaning, but rather to use the motif as a starting point for formal experiments: I want to be quite free of having to find a ‘reason’ for doing the Reclining Figures, and freer still of having to find a ‘meaning’ for them.
Medici Chapel, Basilica of San Lorenzo, Florence. The Arts Council subsequently lent this cast to Leeds City Art Gallery and, after having been placed in the grounds of Temple Newsam House, was vandalized there in early November 1953. Morse, ‘Henry Moore Comes to America’. In 1956 it was removed from public view before being loaned to the Scottish National Gallery of Modern Art in 1961. Anon., ‘Leeds Gets Monstrosity: Reclining Figure, the Storm Bursts in Yorks’.

Photograph courtesy of Leeds Museums and Galleries, Leeds Museums and Galleries (Leeds Art Gallery). Moore’s ‘holes’ became the subject of a number of satirical cartoons, including one published in. Richard Cork, ‘An Art of the Open Air’, in Susan Compton (ed.). The figure has no torso as such but a flat, concave chest that projects almost horizontally outwards and culminates in a barrel-like form.

Originally commissioned by the Arts Council of Great Britain for the 1951 Festival of Britain, Henry Moore’s, In May 1951 the critic Eric Newton described the bronze version of. You can’t free it from its pedestal.

Catherine Jolivette, ‘London Pride: 1951 and Figurative Sculpture at the South Bank Exhibition’. Seen in plan the figure has ‘pools’ of space. Waves of movement run up the legs, rising like the swell of the sea, swinging round from front to back (if a design so completely grasped from every point of view can be said to possess a front and a back) thinning down to slim, rounded ridges, hardening and thickening into solid blocks, rising to a climax in the half-hollowed head, and sinking down along the bent arm that supports the shoulder and breast with a firm elbow. Because I was trying to become conscious of spaces in the sculpture – I made the holes have a shape in its own right, the solid body was encroached upon, eaten into, and sometimes the form was only the shell holing the hole. Henry Moore: Sculpture and Drawings: 3rd edition, with an introduction by Herbert READ. See Eric Newton, ‘The Evolution of a Genius’. Bony though it is, it has a continuous liquid flow from end to end. Originally commissioned by the Arts Council of Great Britain for the 1951 Festival of Britain, Henry Moore’s Reclining Figure is the original plaster from which a bronze edition of the sculpture was cast. Pressing onward like a ship’s prow, it solidifies into the largest mass in the figure, at the area of the chest. Originally commissioned by the Arts Council of Great Britain for the 1951 Festival of Britain, Henry Moore’s. 5th edition, edited by David SYLVESTER, with an introduction by Herbert READ. The thrust passes to the relatively solid legs, placed diagonally to the upper body, and eventually subsides in two simple, broad, wave shapes. Object number LH 201a terracotta. Its ownership was later transferred to the Scottish Arts Council, which presented it to the National Galleries of Scotland in 1969. Graphite, wax crayon, chalk, watercolour, pen and ink on paper, Another variation of this open-mouthed head can be seen in the male figure featured in. Both hands are rendered schematically, but while the left is clenched into a fist the right mitten-like hand rests flat on the base. Henry Moore: Sculpture and Drawings: 3rd edition, with an introduction by Herbert READ. Ernest I. Musgrave, ‘Editorial: The Reclining Figure’, Richard Calvocoressi, ‘Reclining Figure’, in. Katarzyna Murawska-Muthesius, ‘Dreams of the Sleeping Beauty: Henry Moore in Polish Art Criticism and Media, Post-1945’ in Jane Beckett and Fiona Russell. Observing in 1951 that the position of the sculpture influenced how it was understood, Hendy regarded, In this case alone the Exhibition might be said to have let down the artist, for, though the. First Exhibition of the Young Painters' Society. Henry Moore: Sculpture and Drawings; with an introduction by Herbert READ. As often as it retreats from immediate human contact and sympathy, it solicits them by its strong sense of pathos. This process required a release agent to be applied to the surface of the plaster to ensure that the mould could be removed easily from the original while retaining as much surface detail as possible. Henry Moore: Sculptural Process and Public Identity, Detail of turquoise staining on left leg of, Lyndsey Morgan, 'Technique and Condition', March 2011, in Alice Correia, ‘, Scottish National Gallery of Modern Art, Edinburgh, The Moore Danowski Trust (The Henry Moore Family collection), Some Notes of Space and Form in Sculpture, Photograph of Reclining Figure 1951 in progress. ), Henry Moore, London 1968, p.266. Collections. Reclining Figure' (1929) is one of Henry Moore's earliest sculptural achievements. Henry Moore cited in John Hedgecoe (ed. This would have required them to measure specific points on the surface of the working model to ensure that the proportions of the sculpture were retained during the enlargement process. John Read cited in Loukopoulou 2012, p.75. (What is Modern Sculpture?). See Colin Gleadell, ‘Modern Sales Review: When Moore Means More’. Henry Moore’s Exhilarating Exhibition’. William Feaver, ‘Henry Moore in All Directions’, For the exhibition catalogue accompanying Moore’s exhibitions in Canada and New Zealand see. Perhaps referring to works such as, The Festival of Britain display, John Read’s film, and his solo exhibition at the Tate Gallery certainly exposed Moore’s work to a larger number of people than ever before, and his reclining figures secured Moore’s work within the public imagination. Alice Correia, ‘Reclining Figure 1951 by Henry Moore OM, CH’, catalogue entry, January 2014, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-om-ch-reclining-figure-r1172012, accessed 10 October 2020. Richard Cork, ‘An Art of the Open Air’, in Susan Compton (ed.).

Reclining figure by henry moore. Alice Correia, ‘Reclining Figure: Festival’, in Penelope Curtis (ed.). One is Henry Moore’s reclining figure ... in this the feeling of power in repose conveyed by the posture and by the dynamo-like conformation of the chest or diaphragm is reinforced by the raised linear patterning of the bronze with its resultant sense of surface tension. In 1956 it was removed from public view before being loaned to the Scottish National Gallery of Modern Art in 1961. Moore found plaster to be a very useful material because it could be ‘both built up, as in modelling, or cut down, in the way you carve stone or wood’.
Arie Hartog, ‘The Centre of Modern Sculpture: Some Thoughts on Hepworth and Moore’ in Penelope Curtis and Keith Wilson (eds.).


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