Henry Moore

Moore was born in Castleford, West Riding of Yorkshire, England, to Mary (née Baker) and Raymond Spencer Moore. His father was of Irish descent and became pit deputy (responsible for safety) and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement.[1] Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements at a Sunday School reading.[2]

On his second attempt he was accepted at Castleford Secondary School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture.[3] His art teacher, Alice Gostick, broadened his knowledge of art, and with her encouragement, he determined to make art his career; first by sitting for examinations for a scholarship to the local art college.[4] Moore's earliest recorded carvings – a plaque for the Scott Society at Castleford Secondary School, and a Roll of Honour commemorating the boys who went to fight in the First World War from the school – were executed around this time.[5]

Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended.[4] Upon turning eighteen, Moore volunteered for army service in the First World War. He was the youngest man in the Prince of Wales' Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood,[6] during the Battle of Cambrai.[7] After recovering in hospital, he saw out the remainder of the war as a physical training instructor, only returning to France as the Armistice was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."[8] This attitude changed as he reflected on the destructiveness of war and in 1940 he wrote, in a letter to his friend Arthur Sale, that "a year or two after [the war] the sight of a khaki uniform began to mean everything in life that was wrong and wasteful and anti-life. And I still have that feeling."[9]

Moore's reclining figures, such as the 1930 Reclining Woman (bottom), were influenced by Chac Mool figures, such as this one (top) from Chichen Itza.

After the war, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds Arts University), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the university Vice-Chancellor, which had a pronounced effect on his development.[10] In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries.[11] While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the British Museum.[12]

The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child[13] by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.[14]

In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.[15]

On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway.[16] The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.[17] On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College.[18] Irina was born in Kyiv in 1907. Her father was killed in the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.[19]

West Wind, 1928–29; Moore's first public commission was carved from Portland stone and shows the influence of Michelangelo's figures for the Medici Chapel and the Chac Mool figure.

Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists").[20] The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.[21]

In 1932, after six-year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art.[22] Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work,[23] partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.[24]

In 1936, Moore joined a group of surrealist artists founded by Roland Penrose, and the same year was honorary treasurer to the organising committee of the London International Surrealist Exhibition.[25] In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings.

In 1938, Moore met Kenneth Clark for the first time.[26] From this time, Clark became an unlikely but influential champion of Moore's work,[27] and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.[28]

Women and Children in the Tube (1940) (Art.IWM ART LD 759)

At the Coal Face. A Miner Pushing a Tub (1942) (Art.IWM ART LD 2240)

At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post. During the war, Moore produced powerful drawings of Londoners sleeping in the London Underground while sheltering from the Blitz.[29] Kenneth Clark, the chairman of the War Artists' Advisory Committee (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme.[30] In August 1941, WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Moore drew the people in the shelters as passively waiting the all-clear while miners aggressively worked the coal-faces.[31] It has been suggested that Moore's wartime drawings of the Underground and coalmines were inspired, in part, by Gustave Doré's illustrations for Dante's 'Divine Comedy'.[32] Moore's drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC Britain at War exhibition which toured North America throughout the war.[30]

After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire.[33] This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from St Matthew's Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.[34]

Family Group (1950) bronze, Barclay School, Stevenage, Hertfordshire. Moore's first large-scale commission after the Second World War.

Shahbanu Farah in Henry Moore's Gallery, Tehran, May 1971.

After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946.[35] The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[36]

Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.[37] Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.[38]

The UNESCO piece being moved, in 1963, to allow for building work

In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951,[39] and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.[40] With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro[41] Roland Piché[42] and Richard Wentworth.[43]

On the campus of the University of Chicago in December 1967, 25 years to the minute[44] after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place.[45] This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."[46] In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.[47]

Moore in his studio in England (1975), by Allan Warren

The last three decades of Moore's life continued in a similar vein; several major retrospectives took place around the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence. Following the pioneering documentary 'Henry Moore', produced by John Read in 1951, he appeared in many films. In 1964, for instance, Moore was featured in the documentary "5 British Sculptors (Work and Talk)" by American filmmaker Warren Forma. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. The number of commissions continued to increase; he completed Knife Edge Two Piece in 1962 for College Green near the Houses of Parliament in London. According to Moore, "When I was offered the site near the House of Lords ... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park—one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it."[48]

As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from death duties. By 1977, he was paying close to a million pounds a year in income tax; to mitigate his tax burden, he established the Henry Moore Foundation as a registered charity with Irina and Mary as trustees. The Foundation was established to encourage the public appreciation of the visual arts and especially the works of Moore. It now runs his house and estate at Perry Green, with a gallery, sculpture park and studios.[49]

In 1979, Henry Moore became unexpectedly known in Germany when his sculpture Large Two Forms was installed in the forecourt of the German Chancellery in Bonn, which was the capital city of West Germany prior to German reunification in October 1990.[50]

Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.[51]

The Art Gallery of Ontario's Henry Moore collection is the largest public collection of his works in the world

.

In December 2005, the two ton Reclining Figure (1969–70) – insured for £3 million – was lifted by crane from the grounds of the Henry Moore Foundation on to a lorry and has not been recovered.[67] Two men were jailed for a year in 2012 for stealing a sculpture called Sundial (1965) and the bronze plinth of another work, also from the foundation's estate.[68] In October 2013 Standing Figure (1950), one of four Moore pieces in Glenkiln Sculpture Park, estimated to be worth £3 million, was stolen.[68][69]

Draped Seated Woman 1957–58, Yorkshire Sculpture Park

In 2012, the council of the London Borough of Tower Hamlets announced its plans to sell another version of Draped Seated Woman 1957–58, a 1.6-tonne bronze sculpture.[70] Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former London County Council on the understanding that it would be displayed in a public space and might enrich the lives of those living in a socially deprived area. Nicknamed Old Flo, it was installed on the Stifford council estate in 1962 but was vandalised and moved to the Yorkshire Sculpture Park in 1997. Tower Hamlets Council later had considered moving Draped Seated Woman to private land in Canary Wharf but instead chose to "explore options" for a sale.[71] In response to the announcement an open letter was published in The Guardian, signed by Mary Moore, the artist's daughter, by Sir Nicholas Serota, Director of the Tate Gallery, by filmmaker Danny Boyle, and by artists including Jeremy Deller. The letter said that the sale "goes against the spirit of Henry Moore's original sale" of the work.[72]

Today, the Henry Moore Foundation manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with 70 acres (28 ha) of sculpture grounds as well as his restored house and studios. It also runs the Henry Moore Institute in Leeds which organises exhibitions and research activities in international sculpture. Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at Kew Gardens in 2007, Tate Britain in 2010, and Hatfield House in 2011. The foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme.[73]

The world's largest collection of Moore's work is open to the public and is housed in the house and grounds of the 70-acre estate that was Moore's home for 40 years in Perry Green in Hertfordshire. The site and the collection are now owned by the Henry Moore Foundation.[74]

In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a cast of Moore's Reclining Figure 1969–70 (LH 608) – a 3.6 m (12 ft) long, 2.1-tonne bronze sculpture. Closed-circuit-television footage showed that they used a crane to lower the piece onto a stolen flatbed truck. A substantial reward was offered by the Foundation for information leading to its recovery. By May 2009, after a thorough investigation, British officials said they believe the work, once valued at £3 million was probably sold for scrap metal, fetching about £5,000.[75][76] In July 2012 the 22 inches (56 cm) bronze Sundial 1965, valued at £500,000, was stolen from the Moore Foundation.[77] Later that year, following the details of the theft being publicised on the BBC Crimewatch television programme, the work was recovered, and the thieves were sentenced to twelve months' custody.[78]

Moore presented 36 sculptures, as well as drawings, maquettes and other works to the Tate Gallery in 1978.[79]

The Henry Moore Sculpture Centre in the Art Gallery of Ontario, Toronto, opened in 1974. It comprises the world's largest public collection of Moore's work, most of it donated by him between 1971 and 1974. Moore's Three Way Piece No. 2 (The Archer) has also been on display in Nathan Phillips Square at Toronto City Hall since 1966.[80]

Works by Moore are in the collections of institutions in 25 states and the District of Columbia.[81]

There are eleven large sculptural bronze works by Moore in the grounds of the Nelson-Atkins Museum of Art in Kansas City, Missouri.[82][83] There is also a large bronze, the "Seated Woman" of 1957, inside the museum.[84] This is the largest collection of Moore's monumental bronzes in the United States.[85] The museum also contains about 43 smaller sculptures by Moore which are usually not on display. The museum's holdings also include a few works on paper and four large woven pieces, titled "Seated Figures: Ideas for Terracotta" (1981–1982), which are 7–8 foot long tapestries by British weavers based on drawings by Moore.[86] Twenty-eight more tapestries were produced during Moore's lifetime.[87]