Henry Moore
dal 22/10/2001 al 27/1/2003
Segnalato da
22/10/2001
Henry Moore
National Gallery of Art, Washington
The first major retrospective of Henry Moore's (1898-1986) work to appear in the United States in the past 20 years, this exhibition offers a rare opportunity to reevaluate his seminal role in the development of modern sculpture. Approximately 165 full-scale bronzes, maquettes, carvings, plasters, and works on paper spanning Moore's entire career emphasize the artist's role as a sculptor and his involvement with surrealism and early abstract art. The exhibition also explores Moore's dialogue with architects and his shift from private to public sculptural expression.
Washington, D.C. -- Henry Moore, the first major U.S. retrospective of the artist's
work in nearly 20 years, will be on view in the East Building of the National Gallery
of Art from 21 October 2001 through 27 January 2002. The exhibition traces the
crucial stages of Moore's development over the course of 60 years--in particular,
his early engagements with primitivism, his dialogue with abstraction and surrealism
during the 1930s, his drawings of London during World War II, and his postwar
interest in large-scale public sculpture. More than 160 of his works are
represented, including carved works in wood and stone, bronze sculptures, plaster
maquettes, and drawings.
"Henry Moore is one of the most celebrated sculptors of the 20th century, and his
works can be found throughout the world," said Earl A. Powell III, director,
National Gallery of Art. "This retrospective offers a comprehensive assessment of
Moore's work and provides visitors the opportunity to appreciate his many
contributions to modern sculpture."
Sponsors and Organizers
The exhibition at the National Gallery of Art is made possible by a generous grant
from the Catherine B. Reynolds Foundation.
The exhibition was organized by the Dallas Museum of Art with the collaboration
of the Henry Moore Foundation. Initial support for research and organization was
provided by The Dallas Foundation. Jeffrey Weiss, curator of modern and
contemporary art at the National Gallery of Art, is coordinating the Washington
installation.
Catalogue
A fully illustrated catalogue entitled Henry Moore, Sculpting the 20th Century,
edited by Dorothy Kosinski, and published by the Dallas Museum of Art, may be
purchased for $50 in the Gallery Shops or by calling 1(800) 697-9350.
The Exhibition
The 1920s
The exhibition opens with prominent sculptures from the beginning of Moore's
career that illustrate the influence of primitivism on his work. Encounters with the
bold forms of African and pre-Columbian sculpture liberated Moore from the
constraints of the neoclassical tradition. The strong influence of non-Western art
can be seen in works such as Dog (1922) and Reclining Woman (1927).
Abstraction and Surrealism: The 1930s
Influenced by surrealism, Moore's works from the 1930s represent his most radical
and inventive phase. Pieces from this era demonstrate the artist's unique synthesis
of abstraction and representation. Figurative works, such as Girl (1931), gave way
to more abstract forms, such as Family (1935). The remarkable Reclining Figure
(1939) conveys the ambiguity between abstraction and figuration and exemplifies a
recurring motif in Moore's work--the reclining figure. Additional works from this
era include the fascinating Stringed Figures. Inspired by mathematical models, these
works, such as Stringed Figure (1937), illustrate another important theme--the
interaction between internal and external forms.
The 1940s and 1950s
Materials for sculptural projects were rare during and just after World War II, and
Moore turned his attention to drawing, executing compelling images of the war's
devastating effects. Tube Shelter Perspective (1941) shows Londoners taking
shelter in the Underground during German air raids. Just after the war, with the
birth of his only daughter, a new theme emerged in Moore's work--that of the
family. Family Group (1948-1949) reflects a deepening interest in complex human
relationships. Moore's reassuring artistic themes--the family, the reclining figures,
the abstract biomorphic forms--found widespread approval and further enhanced
his popularity during the postwar period. During the 1950s, Moore briefly ventured
into darker thematic territory. The emaciated body of Warrior with Shield
(1953-1954), for example, certainly evokes the atrocities of war.
Moore's Monumental Sculpture
The latter part of the exhibition examines Moore's large-scale works from the
1960s through the time of his death in 1986. These sculptures mark a profound
shift from private art to public art, as Moore turned to creating sculpture, mainly in
bronze, that was monumental in scale. The final stages of Moore's long career are
dominated by architectural commissions and imposing public works. Several large
sculptures, as well as models, can be seen in the exhibition, including Oval with
Points (1968-1970) and a work commissioned for permanent display in front of
the Gallery's East Building, Knife Edge Mirror Two Piece (1976-1978).
General Information
The National Gallery of Art and its Sculpture Garden, located on the National Mall
between Third and Ninth Streets at Constitution Avenue, NW, are open Monday
through Saturday from 10 a.m. to 5 p.m. and Sunday from 11 a.m. to 6 p.m., and
are closed on 25 December and 1 January. Admission is free. For general
information, call (202) 737-4215 or the Telecommunications Device for the Deaf
(TDD) at (202) 842-6176. To receive the Gallery's free bimonthly Calendar of
Events, call (202) 842-6662 or e-mail