Old page wikitext, before the edit (old_wikitext) | '{{short description|English artist known for sculpture (1898–1986)}}
{{Other people}}
{{pp-move}}
{{Use dmy dates|date=December 2023}}
{{Use British English|date=December 2012}}
{{Infobox artist
| name = Henry Moore
| honorific_suffix = [[Order of Merit|OM]] [[Member of the Order of the Companions of Honour|CH]] [[Fellow of the British Academy|FBA]]
| image = Henry Moore in workshop Allan Warren (cropped).jpg
| caption = Moore in 1975
| birth_name = Henry Spencer Moore
| birth_date = {{birth date|1898|7|30|df=y}}
| birth_place = [[Castleford]], [[West Riding of Yorkshire]], England
| death_date = {{Death date and age|1986|8|31|1898|7|30|df=y}}
| death_place = [[Much Hadham]], [[Hertfordshire]], England<!-- dead link as of 2012-04-23 <ref>[http://www.findmypast.com/BirthsMarriagesDeaths.jsp Deaths England and Wales 1984–2006]</ref>-->
| field = Sculpture, drawing, [[graphics]], textiles
| training = [[Leeds Arts University|Leeds School of Art]]<br />[[Royal College of Art]]
| movement = Bronze Sculpture, [[Modernism]]
| works = [[List of sculptures by Henry Moore|List of sculptures]]
| patrons =
| spouse = {{marriage|Irina Radetsky|1929}}
| children = 1
}}
'''Henry Spencer Moore''' {{post-nominals|country=GBR|size=100%|OM|CH|FBA}} (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-[[abstract art|abstract]] monumental bronze sculptures which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from [[the Blitz]] during the Second World War, along with other graphic works on paper.
His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his [[Yorkshire]] birthplace.
Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of [[modernism]] to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the [[Henry Moore Foundation]], which continues to support education and promotion of the arts.
==Life==
=== Early life ===
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 [[Coal mining|colliery]] in Castleford. He was an [[Autodidacticism|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.<ref name="G15">Grohmann, 16.</ref> 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 clay|modelling in clay]] and [[Wood carving|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.<ref name=HMF-website-bio-childhood>{{cite web|url=https://www.henry-moore.org/about-henry-moore/biography/childhood-and-education|title=1898–1925: Childhood and Education|publisher=Henry Moore Foundation|access-date=24 January 2017}}</ref>
On his second attempt he was accepted at [[Castleford Academy|Castleford Secondary School]], which several of his siblings had attended, where his headmaster soon noticed his talent and interest in [[Gothic art|medieval sculpture]].<ref>Grohmann, 15.</ref> 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.<ref name=Berthoud-19>Berthoud, 19.</ref> 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.<ref>Berthoud, 16–19.</ref>
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.<ref name=Berthoud-19/> Upon turning eighteen, Moore volunteered for army service in the [[World War I|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 [[Chemical warfare|gas attack]], on 30 November at [[Bourlon]] Wood,<ref>[http://www.oxforddnb.com/view/printable/39962 Oxford Dictionary of National Biography]</ref> during the [[Battle of Cambrai (1917)|Battle of Cambrai]].<ref>Beckett et al.</ref> After recovering in hospital, he saw out the remainder of the war as a [[physical fitness|physical training]] instructor, only returning to France as [[Armistice of 11 November 1918|the Armistice]] was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."<ref>{{cite book|last=Wilkinson|first=Alan G.|title=Henry Moore: Writings and Conversations|publisher=University of California Press|year=2002|page=41|isbn=0-520-23161-9}}</ref> 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."<ref>{{cite web|url=http://www.iwm.org.uk/collections/item/object/19445|access-date=5 May 2017|title=Letter to Arthur Sale, 30 April 1940|publisher=Imperial War Museum}}</ref>
=== Beginnings as a sculptor ===
{{multiple image
|align left|direction=vertical
|image1=Chac Mool1.jpg|alt1=black and white photograph of a stone carving of a human figure lying down with its knees bent and head turned
|image2=Moore Reclining Woman Ottawa 2015.JPG|alt2=female figure carved out of green stone, lying with bent knees and turned head
|footer=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 Ernest Sadler|Michael Sadler]], the university [[Vice-Chancellor]], which had a pronounced effect on his development.<ref>{{cite web|url=http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 |archive-url=https://web.archive.org/web/20090202025214/http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 |url-status=dead |title=Henry Moore: Life and Work |publisher=Museum of Modern Art |archive-date=2 February 2009 |access-date=28 February 2017 }}</ref> In 1921, Moore won a scholarship to study at the [[Royal College of Art]] in London, along with Hepworth and other Yorkshire contemporaries.<ref>Barassi, Sebastiano. "A Master in the Making". ''Becoming Henry Moore'' 2017. pp. 21; 31–32.</ref> While in London, Moore extended his knowledge of [[primitivism|primitive art]] and sculpture, studying the [[ethnographic]] collections at the [[British Museum]].<ref>Moore, Tania. "The Nation's Collections". ''Becoming Henry Moore'' 2017. pp. 83–86.</ref>
The student sculptures of both Moore and Hepworth followed the standard romantic [[Victorian decorative arts|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 (sculptor)|Frank Dobson]] led him to the method of [[Glossary of sculpting|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 [[Francis Derwent Wood|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''<ref>{{cite book|last1=Allemand-Cosneau|first1=Claude|last2=Fath|first2=Manfred|last3=Mitchinson|first3=David|title=Henry Moore|location=Nantes|publisher=Musée des Beaux Arts|year=1996|page=63|isbn=3-7913-1662-1}}</ref> 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.<ref>Berthoud, 61–62.</ref>
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 [[Trocadéro#The old Palais du Trocadéro|Trocadero]], a plaster cast of a [[Toltec]]-[[Maya civilisation|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.<ref>{{cite web|url=http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |archive-url=https://web.archive.org/web/20090201004845/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |title=Henry Moore: Biography 1916–1925 |publisher=Henry Moore Foundation |access-date=24 September 2008 |archive-date=1 February 2009 |url-status=dead }}</ref>
=== Hampstead ===
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, London|55 Broadway]].<ref>{{cite book|last=Cork|first=Richard|title=Art Beyond the Gallery in Early 20th Century England: In Early 20th Century England|publisher=Yale University Press|year=1985|page=249|isbn=0-300-03236-6}}</ref> The other 'winds' were carved by contemporary sculptors including [[Eric Gill]] with the ground-level pieces provided by [[Jacob Epstein|Epstein]]. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.<ref>Berthoud, 88.</ref> On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College.<ref>{{cite book | url=https://books.google.com/books?id=pzqg4l-ce7oC&pg=PA55 |title = Henry Moore-- Writings and Conversations|isbn = 978-0-520-23161-0|last1 = Moore|first1 = Henry|year = 2002}}</ref> Irina was born in [[Kyiv]] in 1907. Her father was killed in the [[Russian Revolution of 1917|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]].<ref>Berthould, pp. 98–101.</ref>
[[File:HenryMoore WestWind.jpg|thumb|''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 (Michelangelo)|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").<ref>{{cite web|publisher=Modernism 101 |archive-url=https://web.archive.org/web/20081210091401/http://www.modernism101.com/read_henry_moore.php |url=http://www.modernism101.com/read_henry_moore.php |access-date=22 September 2008 |archive-date=10 December 2008 |title=Henry Moore: Sculptor |url-status=dead }}</ref> The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.<ref>Berthoud, pp. 123–124.</ref>
In 1932, after six years teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the [[Chelsea School of Art]].<ref>Grohmann, 30.</ref> Artistically, Moore, Hepworth and other members of The [[Seven and Five Society]] would develop steadily more abstract work,<ref>{{cite web|url=http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|title=The Seven and Five Society|publisher=Tate|access-date=4 September 2008|url-status=dead|archive-url=https://web.archive.org/web/20140726193402/http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|archive-date=26 July 2014}}</ref> 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 (artist)|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.<ref>{{cite news|last=Rojas |first=Laurie |archive-url=https://web.archive.org/web/20131103014202/http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |url=http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |newspaper=The Art Newspaper |date=30 October 2013 |archive-date=3 November 2013 |title=Henry Moore Revisits Spain |url-status=dead}}</ref>
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]].<ref>Berthoud, p. 161.</ref> 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 [[maquette]]s in clay or plaster rather than making preparatory drawings.{{citation needed|date=July 2019}}
In 1938, Moore met [[Kenneth Clark]] for the first time.<ref>Berthoud, 172.</ref> From this time, Clark became an unlikely but influential champion of Moore's work,<ref>Beckett et al., 6.</ref> and through his position as member of the [[Arts Council of Great Britain]] he secured exhibitions and commissions for the artist.<ref>{{cite news|last=Luke|first=Ben|date=20 May 2014|title=Civilisation: the passions and prejudices of Kenneth Clark|work=Evening Standard|url=https://www.standard.co.uk/go/london/exhibitions/civilisation-the-passions-and-prejudices-of-kenneth-clark-9401507.html|access-date=12 June 2020}}</ref>
=== Second World War ===
[[File:Women and Children in the Tube (1940) (Art.IWM ART LD 759).jpg|thumb|''Women and Children in the Tube'' (1940) (Art.IWM ART LD 759)]]
[[File:At the Coal Face. A Miner Pushing a Tub (1942) (Art.IWM ART LD 2240).jpg|thumb|''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]].<ref>{{cite web|publisher=Tate |title=Insight at end of the Tunnel |archive-url=https://web.archive.org/web/20090409124847/http://www.tate.org.uk/magazine/issue2/moore.htm |url=http://www.tate.org.uk/magazine/issue2/moore.htm |access-date=16 August 2008 |archive-date=9 April 2009 |url-status=dead}}</ref> [[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.<ref name="Foss">{{cite book|first=Brian|last=Foss|publisher=Yale University Press|year=2007|title=War paint: Art, War, State and Identity in Britain, 1939–1945 |isbn=978-0-300-10890-3}}</ref> 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.<ref name="WW2Art">{{cite book|publisher=Imperial War Museum|year=2007|title=Art from the Second World War|isbn=978-1-904897-66-8}}</ref> 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'.<ref>{{cite journal|last=Jelbert|first=Rebecca|date=2021|title=Henry Moore's Wartime Drawings (1939–1942) and the Influence of Gustave Doré's Illustrations for Dante's 'Divine Comedy'|url=https://muse.jhu.edu/article/872084|journal=Dante Studies|doi=10.1353/das.2021.0005|volume=139|pages=154–187|s2cid=254221459 }}</ref> 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.<ref name="Foss"/>
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, Hertfordshire|Perry Green]] near [[Much Hadham]], [[Hertfordshire]].<ref>Berthoud, 192–193.</ref> 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.<ref name="Henry Moore">{{cite web|url=https://www.guggenheim.org/artwork/artist/henry-moore |title=Henry Moore |publisher=Guggenheim Collection |access-date=28 February 2017}}</ref>
=== Later years ===
[[File:Henry Moore, Family Group (1950).jpg|thumb|left|''[[Family Group (Moore)|Family Group]]'' (1950) bronze, [[The Barclay School|Barclay School]], [[Stevenage]], [[Hertfordshire, England|Hertfordshire]]. Moore's first large-scale commission after the Second World War.]]
[[File:Shahbanu Farah, Opening ceremony of Henry Moore Gallery in Tehran.png|thumb|[[Farah Pahlavi|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.<ref>"Henry Moore: The Human Dimension". HMF Enterprises, 1991. 83. {{ISBN|0-85331-610-4}}</ref> 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.<ref>Beckett et al., 96.</ref>
Before the war, Moore had been approached by educator [[Henry Morris (education)|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 Village College|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.<ref>Berthoud, 221–222.</ref> 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 (Moore)|Family Group]]'' became Moore's first large-scale public bronze.<ref>Berthoud, 261.</ref>
[[File:UNESCO History, Moving Henry Moore sculpture - UNESCO - PHOTO0000002731 0001.tiff|thumb|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,<ref>Wilkinson, 275.</ref> and in 1958 produced a [[UNESCO Reclining Figure 1957-58|large marble reclining figure]] for the [[UNESCO]] building in Paris.<ref>{{Cite web |title=Moore, Henry (1898-1986) - RECLINING FIGURE |url=https://www.unesco.org/artcollection/NavigationAction.do?idOeuvre=3066 |access-date=12 December 2023 |website=www.unesco.org}}</ref> 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]]<ref>[http://www.tate.org.uk/britain/exhibitions/caro/chronology.htm Anthony Caro]. Tate exhibition catalogue, 2005. Retrieved on 20 September 2008.</ref> [[Roland Piché]]<ref>{{cite web |title=Piche, Roland, b.1938 {{!}} Art UK |url=https://artuk.org/discover/artists/piche-roland-b-1938 |access-date=16 February 2023 |website=artuk.org }}</ref> and [[Richard Wentworth (artist)|Richard Wentworth]].<ref>[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2132&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio, Wentworth]. tate.org.uk. Retrieved on 20 September 2008.</ref>
On the campus of the [[University of Chicago]] in December 1967, 25 years to the minute<ref>3:36 p.m., 2 December 1967. In: McNally, Rand. "Illinois; Guide & Gazetteer". Illinois Sesquicentennial Commission. University of Virginia, 1969. 199.</ref> after the team of physicists led by [[Enrico Fermi]] achieved the first controlled, self-sustaining nuclear chain reaction, Moore's ''[[Nuclear Energy (sculpture)|Nuclear Energy]]'' was unveiled on the site of what was once the university's football field stands, in the [[rackets (sport)|rackets court]] beneath which the experiments had taken place.<ref>Beckett et al., 221.</ref> 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."<ref>Sachs, Robert G. "[http://physics.uchicago.edu/moore_sculpture.html Henry Moore, sculptor]". In "The Nuclear Chain Reaction-Forty Years Later". [[University of Chicago]]. Retrieved on 11 November 2007. {{webarchive |url=https://web.archive.org/web/20071113135127/http://physics.uchicago.edu/moore_sculpture.html|date=13 November 2007}}</ref> 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.<ref>[[:File:20070701 Man Enters The Cosmos Explanatory Plaques.JPG|Enscripted on the plaque at the base of the sculpture]].</ref>
[[File:Henry Moore Allan Warren.jpg|thumb|Moore in his studio in England (1975), by [[Allan Warren]]]]<!--[[File:Huk, Oslo — sculpture.jpg|thumb|left|''Large Arch,'' 1963-1969, sandcast in [[bronze]], [[Oslo, Norway]]]]-->
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 [[Belvedere (fort)|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 1962–65|Knife Edge Two Piece]]'' in 1962 for [[College Green, London|College Green]] near the [[Palace of Westminster|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, London|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."<ref>Chamot, Mary; Farr, Dennis; [[Martin Butlin|Butlin, Martin]]. "[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131163721/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 |date=31 January 2009 }}". "The Modern British Paintings, drawings and Sculpture", Volume II. London: Oldbourne Press, 1964. 481. Retrieved on 5 September 2008.</ref>
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 [[Inheritance Tax (United Kingdom)|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, Hertfordshire|Perry Green]], with a gallery, sculpture park and studios.<ref>{{cite news |author=Kennedy |first=Maev |date=22 April 1999 |title=A hush falls over Henry Moore country |website=The Guardian |url=http://www.theguardian.com/theguardian/1999/apr/22/features11.g23 |access-date=7 January 2023}}</ref>
In 1979, Henry Moore became unexpectedly known in Germany when his sculpture ''Large Two Forms'' was installed in the forecourt of the [[Federal Chancellery (Bonn)|German Chancellery]] in Bonn, which was the capital city of [[West Germany]] prior to German reunification in October 1990.<ref>{{cite web|url=http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=2498|title=GHDI – Image|work=ghi-dc.org}}</ref>
Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.<ref>{{cite book |last=Davis |first=Alexander |url=https://books.google.com/books?id=WVnrAAAAMAAJ |title=Henry Moore Bibliography: 1986–1991, together with supplementary 1898–1986 publications |date= |publisher=Henry Moore Foundation |year=1992 |isbn=978-0-906909-09-6 |volume=4 |pages=140}}</ref>
[[File:Henry-moore-ago.jpg|upright=3.2|center|thumb|The [[Art Gallery of Ontario]]'s Henry Moore collection is the largest public collection of his works in the world]].
== Style ==
[[File:Stuttgart-henry-moore-liegende.jpg|thumb|left|Moore's bronze ''[[Draped Reclining Woman 1957–58]]'' ("Die Liegende") in [[Stuttgart]], typical of his early reclining figures]]
Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.{{citation needed|date=July 2019}}
Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with [[Barbara Hepworth]]'s sculptures.<ref>{{Cite web |title=The Hole of Life |url=https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-url=https://web.archive.org/web/20110706045046/https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-date=6 July 2011 |access-date=12 December 2023 |website=Tate Magazine}}</ref> Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows.{{citation needed|date=November 2022}} The plaster ''[[Reclining Figure: Festival]]'' (1951) in the [[Tate]], is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture.{{citation needed|date=November 2022}} When Moore's niece asked why his sculptures had such simple titles, he replied, <blockquote>All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.<ref>{{Cite news |last=Day |first=Elizabeth |date=2008-07-26 |title=The Moore legacy |work=The Observer |url=https://www.theguardian.com/artanddesign/2008/jul/27/1 |access-date=2023-12-12 |issn=0029-7712}}</ref></blockquote>
Moore's early work is focused on [[Glossary of sculpting#direct carving|direct carving]], in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into [[modernism]] paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory [[Sketch (drawing)|sketches]] and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.<ref>{{Cite news |last=Sabbath |first=Lawrence |date=5 October 1985 |title=Show chance to view '20th-century Michelangelo' |pages=11 |work=[[The Gazette (Montreal)|The Gazette]] |url=https://news.google.com/newspapers?nid=1946&dat=19851005&id=fxUyAAAAIBAJ&sjid=4qUFAAAAIBAJ&pg=1222,2443455 |archive-url=}}</ref>
[[File:Rotterdam kunstwerk Wall Relief no.1.jpg|thumb|upright=1.35|''Wall Relief No. 1'', (1955), Bouwcentrum, [[Rotterdam]]]]
After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the [[Lost-wax casting|lost wax]] technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body.
At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final [[Molding (process)|moulding]] and [[casting]] at a bronze [[foundry]]. Moore often refined the final full plaster shape and added surface marks before casting.{{citation needed|date=July 2019}}
Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for ''West Wind'' for the [[London Underground]] Building at [[55 Broadway]] in London, joining the company of [[Jacob Epstein]] and [[Eric Gill]].<ref>Berthoud, pp. 92–93.</ref> In 1953, he completed a four-part screen carved in [[Portland stone]] for the Time-Life Building in New Bond Street, London,<ref>Berthoud, pp. 280–282.</ref> and in 1955 Moore turned to his first and only work in carved brick, ''Wall Relief'' at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.<ref>''Sculpture in Rotterdam''. van Adrichem, Jan; Bouwhuis, Jelle; Dölle, Mariette. 2002. Rotterdam: Centre for the Arts. p. 180.</ref>
[[File:HenryMoore RecliningFigure 1951.jpg|thumb|''[[Large Reclining Figure]]'' (1984, based on a smaller model of 1938), [[Fitzwilliam Museum, Cambridge]]]]
The aftermath of the [[Second World War]], [[The Holocaust]], and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as [[Jean-Paul Sartre]] advocated a similar reductive philosophy.<ref name="C34">Causey, 34.</ref> At an introductory speech in New York City for an exhibition of one of the finest [[Modernism|modernist]] sculptors, [[Alberto Giacometti]], Sartre spoke of "The beginning and the end of history".<ref>Morris, Frances. "Paris Post War: Art and Existentialism 1945–55". Tate Gallery, 1993. {{ISBN|1-85437-124-X}}</ref> Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.<ref name="C34"/>
== Legacy ==
[[File:Caro DreamCity 1996.jpg|thumb|left|alt=Abstract sculpture made of rusting steel|''Dream City'' by Anthony Caro, (1996), rusting steel, at the [[Yorkshire Sculpture Park]].]]
Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 [[Venice Biennale]], eight new British sculptors produced their ''[[Geometry of Fear]]'' works as a direct contrast to the ideals behind Moore's idea of ''Endurance, Continuity'';<ref>Causey, 71.</ref> his large bronze ''Double Standing Figure'' stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.<ref name=arts>{{cite web|first=Ann |last=Jones |year=2007 |url= http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |title=Geometry of Fear: Works from the Arts Council Collection |archiveurl=https://web.archive.org/web/20150630034027/http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |archivedate=30 June 2015 |type=exhibition leaflet |location=London |publisher=Southbank Centre |accessdate= 6 May 2017}}</ref>
Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are [[Sir Anthony Caro]],<ref>{{Cite web |title=Anthony Caro Biography |url=http://www.anthonycaro.org/frames-related/biography.htm |archive-url=https://web.archive.org/web/20160201090252/http://www.anthonycaro.org/frames-related/biography.htm |archive-date=1 February 2016 |access-date=12 December 2023 |website=anthonycaro.org}}</ref> [[Phillip King (artist)|Phillip King]]<ref>{{Cite web |date=31 May 2005 |title=Phillip King |url=http://www.sculpture.org.uk/artists/PhillipKing/ |archive-url=https://web.archive.org/web/20080531062158/http://www.sculpture.org.uk/artists/PhillipKing/ |archive-date=31 May 2008 |access-date=12 December 2023 |website=www.sculpture.org.uk}}</ref> and [[Isaac Witkin]],<ref>{{Cite news |last=Johnson |first=Ken |date=29 April 2006 |title=Isaac Witkin, 69, Innovator in Abstract Metal Sculpture, Is Dead |work=[[The New York Times]] |url=https://www.nytimes.com/2006/04/29/obituaries/isaac-witkin-69-innovator-in-abstract-metal-sculpture-is-dead.html |access-date=12 December 2023}}</ref> all three having been assistants to Moore. Other artists whose work was influenced by him include [[Helaine Blumenfeld]], [[Drago Marin Cherina]], [[Lynn Chadwick]], [[Eduardo Paolozzi]], [[Bernard Meadows]], [[Reg Butler]], [[William Turnbull (artist)|William Turnbull]], [[Robert Adams (sculptor and designer)|Robert Adams]], [[Kenneth Armitage]], and Geoffrey Clarke.<ref name=":1">{{Cite web |last=Turner |first=Chris |date=1 August 2003 |title=The Bronze Age |url=http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-url=https://web.archive.org/web/20160303212956/http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-date=3 March 2016 |access-date=12 December 2023}}</ref>
'''Henry Moore Foundation''' helps to preserve his legacy by supporting sculptors and creating exhibitions, its goal is to develop appreciation for visual arts. The Foundation was established by Henry and his family in 1977 in England, and still working.<ref>{{cite web|title=About the Foundation|url=https://www.henry-moore.org/about-the-foundation|access-date=29 November 2020|website=Henry Moore Foundation}}</ref>
=== Controversy ===
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.<ref>{{Cite news |last=David |first=Wilcock |date=13 July 2012 |title=Henry Moore sundial stolen from former garden |work=[[The Independent]] |url=https://www.independent.co.uk/news/uk/crime/henry-moore-sundial-stolen-from-former-garden-7941456.html |access-date=12 December 2023}}</ref> 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.<ref>{{Cite news |date=14 October 2023 |title=Bronze Henry Moore work stolen from sculpture park |work=[[Evening Standard]] |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=12 December 2023}}</ref> In October 2013 ''Standing Figure'' (1950), one of four Moore pieces in [[Glenkiln Sculpture Park]], estimated to be worth £3 million, was stolen.<ref name="standard.co.uk">{{cite web |date=14 October 2013 |title=Bronze Henry Moore work stolen from sculpture park |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=7 January 2023 |website=Evening Standard}}</ref><ref>{{cite news |url=https://www.bbc.co.uk/news/uk-scotland-south-scotland-24522871 |title=Missing Henry Moore bronze statue 'worth £3m' |work=BBC News |date=13 October 2013 |access-date=15 October 2013}}</ref>
[[File:Reclining Figure at Yorkshire Sculpture Park - geograph.org.uk - 519117.jpg|thumb|right|''[[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.<ref>{{cite web|last=Vogel|first=Carol|date=5 November 2012|title=British Art World Figures Protest Possible Sale of a Henry Moore|url=https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2012/11/05/british-art-world-figures-protest-possible-sale-of-a-henry-moore/|access-date=7 January 2023|website=ArtsBeat}}</ref> 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.<ref>{{cite news |last=Youngs |first=Ian |date=5 October 2012 |title=Council to sell Henry Moore sculpture |work=BBC News |url=https://www.bbc.com/news/entertainment-arts-19846843 |access-date=7 January 2023}}</ref> 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.<ref>{{Cite news |last=Alberge |first=Dalya |date=3 November 2012 |title=Britain's cultural elite battles to halt sale of Henry Moore sculpture |work=[[The Observer]] |url=https://www.theguardian.com/culture/2012/nov/03/henry-moore-sculpture |access-date=12 December 2023}}</ref>
=== Popular interest ===
Today, the [[Henry Moore Foundation]] manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with {{convert|70|acre}} 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.<ref>"[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 Unfinished Business: Mark Wilsher on view from 26 July] {{webarchive|url=https://web.archive.org/web/20081006163517/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 |date=6 October 2008 }}". Henry Moore Foundation, 2008. Retrieved on 22 September 2008.</ref>
== Collections ==
[[File:HenryMooreTorontoCH1.jpg|''Three Way Piece No. 2 (The Archer),'' (1964–65) has been on display in front of [[Toronto City Hall]] in [[Nathan Phillips Square]] since 1966.|thumb|alt=Photograph of a large bronze abstract sculpture, in front of a glass and concrete building.]]
=== England ===
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{{nbsp}}years in [[Perry Green, Hertfordshire|Perry Green]] in Hertfordshire. The site and the collection are now owned by the [[Henry Moore Foundation]].<ref>{{cite web|title=Visiting FAQs – Studios & Gardens|url=https://henry-moore.org/studios-and-gardens/plan-your-visit-studios-gardens/visiting-faqs-studios-gardens/|access-date=7 January 2023|website=Henry Moore Foundation}}</ref>
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 {{cvt|3.6|m}} 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.<ref>{{cite news|last=Bowcott|first= Owen|url=https://www.theguardian.com/uk/2005/dec/19/arts.arttheft|title=Lorry used to steal £3m Moore sculpture found on housing estate|newspaper=[[The Guardian]]|date=19 December 2005|access-date=9 June 2009}}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/england/beds/bucks/herts/4537670.stm|title=£3m Henry Moore sculpture stolen|work=[[BBC News Online]]|date=17 December 2005|access-date=9 June 2009}}</ref> In July 2012 the {{convert|22|in|cm}} bronze ''Sundial 1965'', valued at £500,000, was stolen from the Moore Foundation.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2012/jul/13/henry-moore-sundial-stolen-foundation?newsfeed=true|title=Henry Moore sundial sculpture stolen from museum garden|work=The Guardian|date=13 July 2012 }}</ref> 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.<ref>{{cite news|url=https://www.bbc.co.uk/news/uk-england-beds-bucks-herts-20591757 |title=Henry Moore sundial theft pair jailed |work=[[BBC News Online]]|date=4 December 2012|access-date=3 May 2013}}</ref>
Moore presented 36 sculptures, as well as drawings, maquettes and other works to the [[Tate Gallery]] in 1978.<ref>{{Cite web |last= |title=Henry Moore at Tate |url=https://www.tate.org.uk/visit/tate-britain/display/henry-moore/henry-moore-tate |access-date=12 December 2023 |website=Tate }}</ref>
=== Canada ===
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: Archer|Three Way Piece No. 2 (The Archer)]]'' has also been on display in [[Nathan Phillips Square]] at [[Toronto City Hall]] since 1966.<ref>{{cite web|url=http://www.toronto.ca/311/knowledgebase/59/101000040959.html|title=The Archer – sculpture – Nathan Phillips Square|work=toronto.ca|url-status=dead|archive-url=https://web.archive.org/web/20141012024555/http://www.toronto.ca/311/knowledgebase/59/101000040959.html|archive-date=12 October 2014}}</ref><ref>{{Cite web |date=2017-11-23 |title=A Step Forward in Time: Public Art |url=https://www.toronto.ca/explore-enjoy/history-art-culture/online-exhibits/web-exhibits/web-exhibits-local-government/a-step-forward-in-time-torontos-new-city-hall/a-step-forward-in-time-public-art/ |access-date=2024-04-02 |website=City of Toronto |language=en-CA}}</ref>
=== United States ===
Works by Moore are in the collections of institutions in 25 states and the District of Columbia.<ref>{{cite web |title=Henry Moore Works in Public |url=https://henry-moore.org/henry-moore-works-in-public/ |access-date=30 July 2023 |website=Henry Moore Foundation}}</ref>
There are eleven large sculptural bronze works by Moore in the grounds of the [[Nelson-Atkins Museum of Art]] in [[Kansas City, Missouri]].<ref name=":0">{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/henry-spencer-moore/objects |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref><ref>{{cite web |title=Donald J. Hall Sculpture Park |url=https://nelson-atkins.org/collection/donald-j-hall-sculpture-park/ |access-date=30 July 2023 |website=Nelson Atkins }}</ref> There is also a large bronze, the "Seated Woman" of 1957, inside the museum.<ref>{{cite web |title=Seated Woman |url=https://art.nelson-atkins.org/objects/21761/seated-woman;jsessionid=1B892C99F27DD589A49600490663BC7D |access-date=30 July 2023 |website=art.nelson-atkins.org }}</ref> This is the largest collection of Moore's monumental bronzes in the United States.<ref>{{cite web |title=Nelson-Atkins Museum of Art, Kansas City – Collections – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/collections/16952/nelsonatkins-museum-of-art-kansas-city |access-date=30 July 2023 |website=catalogue.henry-moore.org}}</ref> 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.<ref>{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/-/objects/images?page=3 |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref> Twenty-eight more tapestries were produced during Moore's lifetime.<ref>{{cite web |title=Search * (Objects) – Search – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/search/*/objects/images?filter=classifications:Tapestry&page=2 |access-date=5 August 2023 |website=catalogue.henry-moore.org}}</ref>
== Recognition ==
[[File:Heroic Bust, Henry Moore by Alexander Stoddart 1992.jpg|thumb|upright|Heroic Bust, Henry Moore by [[Alexander Stoddart]] 1992]]
In 1948, Moore won the International Sculpture Prize at the [[Venice Biennale]].<ref>"[http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131232706/http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 |date=31 January 2009 }}". Visual Arts Department, British Council. Retrieved on 5 September 2008.</ref> He turned down a [[knight]]hood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".<ref name=":1" /> He was, however, appointed a [[Member of the Order of the Companions of Honour]] in 1955 and <ref>Berthould, p. 301.</ref> a [[Member of the Order of Merit]] in 1963,<ref>Berthould, p. 302.</ref> and received the [[Erasmus Prize]] in 1968.<ref>Berthould, p. 397.</ref> He was also a member of both the [[American Academy of Arts and Sciences]] and the [[American Philosophical Society]].<ref>{{cite web |title=Henry Spencer Moore |url=https://www.amacad.org/person/henry-spencer-moore |access-date=15 June 2022 |website=American Academy of Arts & Sciences }}</ref><ref>{{cite web |title=APS Member History |url=https://search.amphilsoc.org/memhist/search?creator=Henry+Moore&title=&subject=&subdiv=&mem=&year=&year-max=&dead=&keyword=&smode=advanced |access-date=15 June 2022 |website=search.amphilsoc.org}}</ref>
He was a trustee of both the [[National Gallery, London|National Gallery]] and [[Tate Gallery]].<ref>Chamot, Mary; Farr, Dennis; Butlin, Martin. "[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1659&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio Henry Moore OM, CH ]". From ''The Modern British Paintings, Drawings and Sculpture, London 1964, II''. Reproduced at Tate.org. Retrieved on 21 August 2008.</ref> His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society,<ref>{{cite web|date=2 December 2022|title=The Turner Society|url=https://www.turnersociety.com/|access-date=7 January 2023|website=www.turnersociety.com}}</ref> which had been founded to campaign for a separate museum in which the whole Turner Bequest<ref>"[http://www.tate.org.uk/servlet/BrowseGroup?cgroupid=999999998 Turner Collection]". [[Tate Gallery]]. Retrieved on 9 August 2008.</ref> might be reunited, an aim defeated by the National Gallery and Tate Gallery.{{citation needed|date=July 2019}}
Given to the City of London by Moore and the Contemporary Art Society in 1967, ''[[Knife Edge Two Piece 1962–65]]'' is displayed in [[College Green, London|Abingdon Street Gardens]], opposite the [[Palace of Westminster|Houses of Parliament]], where its regular appearance in the background of televised news reports from Westminster makes it Moore's most prominent piece in Britain. The ownership of ''Knife Edge Two Piece 1962–65'' was disputed until its 2011 acquisition by the Parliamentary Art Collection.<ref name=ParlNews>{{cite news |url= http://www.parliament.uk/business/news/2013/february/conservation-of-henry-moore-sculpture-to-begin/|title=Conservation of Henry Moore sculpture to begin |location =London |date=11 February 2013}}</ref>
== Art market ==
By the end of his career, Moore was the world's most successful living artist at auction. In 1982, four years before his death, [[Sotheby's]] in New York sold a {{convert|6|ft|adj=on}} ''Reclining Figure'' (1945), for $1.2 million to collector Wendell Cherry. Although a first record of $4.1 million was set in 1990, Moore's market slumped during the recession that followed. In 2012, his eight-foot bronze, ''[[Reclining Figure: Festival]]'' (1951) sold for a record £19.1 million at [[Christie's]], making him the second most expensive 20th-century British artist after [[Francis Bacon (artist)|Francis Bacon]].<ref>{{Cite news |last=Gleadell |first=Colin |date=13 February 2012 |title=Modern sales review: when Moore means more |work=[[The Daily Telegraph|The Telegraph]] |url=https://www.telegraph.co.uk/culture/art/artsales/9080076/Modern-sales-review-when-Moore-means-more.html |access-date=12 December 2023}}</ref>
{{Clear}}
== Gallery ==
<gallery class="center" widths="176" heights="150">
File:MooreJerusalem1.jpg|''[[Draped Seated Woman 1957–58|Draped Seated Woman]]'' (1957–58), [[Hebrew University of Jerusalem]]
File:Moore ThreePieceRecliningFigureNo1 1961.jpg|''Three Piece Reclining Figure No.1'' (1961), [[Yorkshire Sculpture Park]]
File:Knife Edge Two Piece - Henry Moore.jpg|''[[Knife Edge Two Piece]]'' (1962–65) ([[bronze]]), (1962), opposite [[House of Lords]], [[London]]
File:Henry Moore's sculpture, Q. E. Park, Vancouver.jpg|''[[Knife Edge Two Piece]]'' (1962–65), Queen Elizabeth Park, [[Vancouver, B.C.]], Canada. 1970.
File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg|''Two Piece Reclining Figure No. 5'' (1963–64), bronze, [[Kenwood House]] grounds, [[London]]
File:Oval with Points.jpg|''[[Oval with Points]]'' (1968–70), [[Henry Moore Foundation]]
File:'Sheep Piece' von Henry Moore beim Hafen Riesbach in Zürich-Seefeld 2014-03-12 14-44-05.JPG|''[[Sheep Piece 1971–72|Sheep Piece]]'' (1971–72), [[Zürichhorn]], Zürich-[[Seefeld (Zürich)|Seefeld]], Switzerland
File:HenryMoor AGO.JPG|''Large Two Forms'' (1969), [[Art Gallery of Ontario]]
File:Moore Hongkong.JPG|''Double Oval'' (1966), [[Jardine House]], [[Central, Hong Kong]]
File:Henry Moore - Sculpture with hole and light.jpg|''Sculpture with Hole and Light'' (1967), [[Kröller-Müller Museum]], [[Otterlo]]
File:Three Picture Sculpture - Henry Moore.jpg|''Three Piece Sculpture: Vertebrae'' (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005
File:The Arch - Henry Moore.jpg|''The Arch'' (1963/69), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 4 in Schwäbisch Hall.jpg|''Large Interior Form'' (1953–54), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 3 in Schwäbisch Hall.jpg|''Reclining Figure'' (1982), Henry Moore – Kunst in Schwäbisch Hall
File:HenryMoore TwoPieceRecliningFigureNo3.jpg|''Two Piece Reclining Figure No. 3'', Henry Moore, Brandon Estate, Kennington, London
File:018 ceh 0125.jpg|''Reclining Figure (1982), [[Worcester College, Oxford]]''
</gallery>
== See also ==
*[[List of sculptures by Henry Moore]]
== References ==
{{reflist}}
== Works cited ==
* {{cite book|last1=Beckett|last2=Russell|first1=Jane|first2=Fiona|title=Henry Moore: Space, Sculpture, Politics|year=2003|publisher=Ashgate|location=Burlington, Vermont|isbn=0-7546-0836-0}}
* {{cite book|last=Berthoud|first=Roger|title=The Life of Henry Moore|url=https://books.google.com/books?id=5I2wAAAAIAAJ |year=2003|publisher=Giles de la Mare|edition=2|isbn=978-1-900357-22-7}}
* {{cite book|last=Causey|first=Andrew|title=Sculpture Since 1945|year=1998|publisher=Oxford University Press|location=Oxford|isbn=0-19-284205-6|url-access=registration|url=https://archive.org/details/sculpturesince190000caus}}
* {{cite book|last=Grohmann|first=Will|title=The Art of Henry Moore|publisher=H. N. Abrams|location=New York|year=1960}}
== Further reading ==
* {{cite book|last=Darracott|first=J.|title=Henry Moore War Drawings|year=1975}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore Textiles|publisher=Lund Humphries|location=Surrey|year=2009|isbn=978-1-84822-052-2}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore: Large Late Forms|publisher=Gagosian|location=London|year=2013}}
* {{cite book|last=Feldman|first=Anita|title=Body & Void: Echoes of Moore in Contemporary Art|publisher=The Henry Moore Foundation|location=Perry Green|year=2014|isbn=978-0-906909-32-4}}
* {{cite book|last1=Feldman|first1=Anita|last2=Pinet|first2=Hélène|last3=Moore|first3=Mary|last4=Blanchetière|first4=François|title=Moore Rodin|publisher=The Henry Moore Foundation|location=Perry Green|year=2013|isbn=978-0-906909-31-7}}
* {{cite book|last1=Feldman|last2=Woodward|first1=Anita|first2=Malcolm|title=Henry Moore Plasters|publisher=Royal Academy of Arts|location=London|year=2011|isbn=978-1-907533-11-2}}
* {{cite book|last=Hedgecoe|first=John|title=A Monumental Vision: The Sculpture of Henry Moore|year=1998|publisher=Collins & Brown|isbn=1-55670-683-9}}
* {{cite book|editor-last=Kosinski|editor-first=Dorothy|title=Henry Moore: Sculpting the 20th Century|publisher=Yale University Press|location=New Haven|year=2001}}
* {{cite book|last1=Mitchinson|first1=David|last2=Feldman Bennet|first2=Anita|title=Moore: The Graphics|year=2002|isbn=0-906909-26-0}}
* {{cite book|last=Moore|first=Henry|title=Henry Moore: Model to Monument|year=1986|publisher=Kent Fine Art|location=New York|isbn=1-878607-21-9}}
* {{cite book|last1=O'Reilly|first1=Sally|last2=Oliver|first2=Clare|title=Henry Moore|year=2003|publisher=Scholastic Library|isbn=0-531-16643-0|url-access=registration|url=https://archive.org/details/henrymoore00orei}}
* {{cite book|last=Seldis|first=Henry J.|title=Henry Moore in America|url=https://archive.org/details/henrymooreinamer00seld|url-access=registration|publisher=Praeger|year=1973|isbn=978-0-87587-054-0 }}
* {{cite book|last=Sylvester|first=David|title=Henry Moore|publisher=Arts Council of Great Britain|location=London|year=1968}}
* {{cite book|title=Henry Moore: At Dulwich Picture Gallery|publisher=Scala|year=2004|isbn=1-85759-352-9}}
== External links ==
{{commons}}
* [https://www.henry-moore.org Henry Moore Foundation website]
* {{IMJ-Collections|first= Henry|last=Moore|access-date=1 September 2016}}
* [http://www.sculpture.org/documents/scmag01/julaug01/moore/moore.shtml "The Enigma of Henry Moore"] by Brian McAvera. ''Sculpture Magazine'', July/August 2001: Vol. 20, No. 6.
* [http://news.bbc.co.uk/1/hi/entertainment/arts_and_culture/8529691.stm BBC article with archive film of Moore at work]
* [http://www.tate.org.uk/art/artworks?aid=1659 3D model of ''Recumbent Figure'' (1938)] from Tate
* [http://www.unesco.org/artcollection/DetailAction.do?&idOeuvre=1547&nouvelleLangue=en The UNESCO Works of Art Collection]
* [https://www.wsj.com/articles/SB10001424052748703465204575208340440165122?mod=WSJ_LifeStyle_Lifestyle_5 An Intimate Moore, Tom Freudenheim, ''The Wall Street Journal'', 30 June 2010]
* [https://web.archive.org/web/20120927064721/http://www.kew.org/henry-moore/ Henry Moore at Kew, 2007]
{{Henry Moore}}
{{Unit One|state=collapsed}}
{{Subject bar|commons=yes|commons-search=Category:Henry Moore|q=yes|d=yes|d-search=Q151097}}
{{Authority control}}
{{DEFAULTSORT:Moore, Henry}}
[[Category:1898 births]]
[[Category:1986 deaths]]
[[Category:Military personnel from Yorkshire]]
[[Category:20th-century British sculptors]]
[[Category:Alumni of Leeds Arts University]]
[[Category:Alumni of the Royal College of Art]]
[[Category:British Army personnel of World War I]]
[[Category:British contemporary artists]]
[[Category:English people of Irish descent]]
[[Category:English sculptors]]
[[Category:English male sculptors]]
[[Category:Fellows of the British Academy]]
[[Category:London Regiment soldiers]]
[[Category:Members of the Order of Merit]]
[[Category:Members of the Order of the Companions of Honour]]
[[Category:Members of the Serbian Academy of Sciences and Arts]]
[[Category:British modern sculptors]]
[[Category:People from Castleford]]
[[Category:People from Much Hadham]]
[[Category:Recipients of the Pour le Mérite (civil class)]]
[[Category:British war artists]]
[[Category:World War II artists]]
[[Category:Académie Colarossi alumni]]
[[Category:People educated at Castleford Academy]]
[[Category:Members of the American Philosophical Society]]
[[Category:Foreign members of the Serbian Academy of Sciences and Arts]]' |
New page wikitext, after the edit (new_wikitext) | 'He was a black transgender woman who was attached to rabbit farts {{short description|English artist known for sculpture (1898–1986)}}
{{Other people}}
{{pp-move}}
{{Use dmy dates|date=December 2023}}
{{Use British English|date=December 2012}}
{{Infobox artist
| name = Henry Moore
| honorific_suffix = [[Order of Merit|OM]] [[Member of the Order of the Companions of Honour|CH]] [[Fellow of the British Academy|FBA]]
| image = Henry Moore in workshop Allan Warren (cropped).jpg
| caption = Moore in 1975
| birth_name = Henry Spencer Moore
| birth_date = {{birth date|1898|7|30|df=y}}
| birth_place = [[Castleford]], [[West Riding of Yorkshire]], England
| death_date = {{Death date and age|1986|8|31|1898|7|30|df=y}}
| death_place = [[Much Hadham]], [[Hertfordshire]], England<!-- dead link as of 2012-04-23 <ref>[http://www.findmypast.com/BirthsMarriagesDeaths.jsp Deaths England and Wales 1984–2006]</ref>-->
| field = Sculpture, drawing, [[graphics]], textiles
| training = [[Leeds Arts University|Leeds School of Art]]<br />[[Royal College of Art]]
| movement = Bronze Sculpture, [[Modernism]]
| works = [[List of sculptures by Henry Moore|List of sculptures]]
| patrons =
| spouse = {{marriage|Irina Radetsky|1929}}
| children = 1
}}
'''Henry Spencer Moore''' {{post-nominals|country=GBR|size=100%|OM|CH|FBA}} (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-[[abstract art|abstract]] monumental bronze sculptures which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from [[the Blitz]] during the Second World War, along with other graphic works on paper.
His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his [[Yorkshire]] birthplace.
Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of [[modernism]] to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the [[Henry Moore Foundation]], which continues to support education and promotion of the arts.
==Life==
=== Early life ===
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 [[Coal mining|colliery]] in Castleford. He was an [[Autodidacticism|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.<ref name="G15">Grohmann, 16.</ref> 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 clay|modelling in clay]] and [[Wood carving|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.<ref name=HMF-website-bio-childhood>{{cite web|url=https://www.henry-moore.org/about-henry-moore/biography/childhood-and-education|title=1898–1925: Childhood and Education|publisher=Henry Moore Foundation|access-date=24 January 2017}}</ref>
On his second attempt he was accepted at [[Castleford Academy|Castleford Secondary School]], which several of his siblings had attended, where his headmaster soon noticed his talent and interest in [[Gothic art|medieval sculpture]].<ref>Grohmann, 15.</ref> 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.<ref name=Berthoud-19>Berthoud, 19.</ref> 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.<ref>Berthoud, 16–19.</ref>
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.<ref name=Berthoud-19/> Upon turning eighteen, Moore volunteered for army service in the [[World War I|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 [[Chemical warfare|gas attack]], on 30 November at [[Bourlon]] Wood,<ref>[http://www.oxforddnb.com/view/printable/39962 Oxford Dictionary of National Biography]</ref> during the [[Battle of Cambrai (1917)|Battle of Cambrai]].<ref>Beckett et al.</ref> After recovering in hospital, he saw out the remainder of the war as a [[physical fitness|physical training]] instructor, only returning to France as [[Armistice of 11 November 1918|the Armistice]] was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."<ref>{{cite book|last=Wilkinson|first=Alan G.|title=Henry Moore: Writings and Conversations|publisher=University of California Press|year=2002|page=41|isbn=0-520-23161-9}}</ref> 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."<ref>{{cite web|url=http://www.iwm.org.uk/collections/item/object/19445|access-date=5 May 2017|title=Letter to Arthur Sale, 30 April 1940|publisher=Imperial War Museum}}</ref>
=== Beginnings as a sculptor ===
{{multiple image
|align left|direction=vertical
|image1=Chac Mool1.jpg|alt1=black and white photograph of a stone carving of a human figure lying down with its knees bent and head turned
|image2=Moore Reclining Woman Ottawa 2015.JPG|alt2=female figure carved out of green stone, lying with bent knees and turned head
|footer=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 Ernest Sadler|Michael Sadler]], the university [[Vice-Chancellor]], which had a pronounced effect on his development.<ref>{{cite web|url=http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 |archive-url=https://web.archive.org/web/20090202025214/http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 |url-status=dead |title=Henry Moore: Life and Work |publisher=Museum of Modern Art |archive-date=2 February 2009 |access-date=28 February 2017 }}</ref> In 1921, Moore won a scholarship to study at the [[Royal College of Art]] in London, along with Hepworth and other Yorkshire contemporaries.<ref>Barassi, Sebastiano. "A Master in the Making". ''Becoming Henry Moore'' 2017. pp. 21; 31–32.</ref> While in London, Moore extended his knowledge of [[primitivism|primitive art]] and sculpture, studying the [[ethnographic]] collections at the [[British Museum]].<ref>Moore, Tania. "The Nation's Collections". ''Becoming Henry Moore'' 2017. pp. 83–86.</ref>
The student sculptures of both Moore and Hepworth followed the standard romantic [[Victorian decorative arts|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 (sculptor)|Frank Dobson]] led him to the method of [[Glossary of sculpting|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 [[Francis Derwent Wood|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''<ref>{{cite book|last1=Allemand-Cosneau|first1=Claude|last2=Fath|first2=Manfred|last3=Mitchinson|first3=David|title=Henry Moore|location=Nantes|publisher=Musée des Beaux Arts|year=1996|page=63|isbn=3-7913-1662-1}}</ref> 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.<ref>Berthoud, 61–62.</ref>
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 [[Trocadéro#The old Palais du Trocadéro|Trocadero]], a plaster cast of a [[Toltec]]-[[Maya civilisation|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.<ref>{{cite web|url=http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |archive-url=https://web.archive.org/web/20090201004845/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |title=Henry Moore: Biography 1916–1925 |publisher=Henry Moore Foundation |access-date=24 September 2008 |archive-date=1 February 2009 |url-status=dead }}</ref>
=== Hampstead ===
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, London|55 Broadway]].<ref>{{cite book|last=Cork|first=Richard|title=Art Beyond the Gallery in Early 20th Century England: In Early 20th Century England|publisher=Yale University Press|year=1985|page=249|isbn=0-300-03236-6}}</ref> The other 'winds' were carved by contemporary sculptors including [[Eric Gill]] with the ground-level pieces provided by [[Jacob Epstein|Epstein]]. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.<ref>Berthoud, 88.</ref> On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College.<ref>{{cite book | url=https://books.google.com/books?id=pzqg4l-ce7oC&pg=PA55 |title = Henry Moore-- Writings and Conversations|isbn = 978-0-520-23161-0|last1 = Moore|first1 = Henry|year = 2002}}</ref> Irina was born in [[Kyiv]] in 1907. Her father was killed in the [[Russian Revolution of 1917|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]].<ref>Berthould, pp. 98–101.</ref>
[[File:HenryMoore WestWind.jpg|thumb|''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 (Michelangelo)|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").<ref>{{cite web|publisher=Modernism 101 |archive-url=https://web.archive.org/web/20081210091401/http://www.modernism101.com/read_henry_moore.php |url=http://www.modernism101.com/read_henry_moore.php |access-date=22 September 2008 |archive-date=10 December 2008 |title=Henry Moore: Sculptor |url-status=dead }}</ref> The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.<ref>Berthoud, pp. 123–124.</ref>
In 1932, after six years teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the [[Chelsea School of Art]].<ref>Grohmann, 30.</ref> Artistically, Moore, Hepworth and other members of The [[Seven and Five Society]] would develop steadily more abstract work,<ref>{{cite web|url=http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|title=The Seven and Five Society|publisher=Tate|access-date=4 September 2008|url-status=dead|archive-url=https://web.archive.org/web/20140726193402/http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|archive-date=26 July 2014}}</ref> 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 (artist)|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.<ref>{{cite news|last=Rojas |first=Laurie |archive-url=https://web.archive.org/web/20131103014202/http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |url=http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |newspaper=The Art Newspaper |date=30 October 2013 |archive-date=3 November 2013 |title=Henry Moore Revisits Spain |url-status=dead}}</ref>
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]].<ref>Berthoud, p. 161.</ref> 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 [[maquette]]s in clay or plaster rather than making preparatory drawings.{{citation needed|date=July 2019}}
In 1938, Moore met [[Kenneth Clark]] for the first time.<ref>Berthoud, 172.</ref> From this time, Clark became an unlikely but influential champion of Moore's work,<ref>Beckett et al., 6.</ref> and through his position as member of the [[Arts Council of Great Britain]] he secured exhibitions and commissions for the artist.<ref>{{cite news|last=Luke|first=Ben|date=20 May 2014|title=Civilisation: the passions and prejudices of Kenneth Clark|work=Evening Standard|url=https://www.standard.co.uk/go/london/exhibitions/civilisation-the-passions-and-prejudices-of-kenneth-clark-9401507.html|access-date=12 June 2020}}</ref>
=== Second World War ===
[[File:Women and Children in the Tube (1940) (Art.IWM ART LD 759).jpg|thumb|''Women and Children in the Tube'' (1940) (Art.IWM ART LD 759)]]
[[File:At the Coal Face. A Miner Pushing a Tub (1942) (Art.IWM ART LD 2240).jpg|thumb|''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]].<ref>{{cite web|publisher=Tate |title=Insight at end of the Tunnel |archive-url=https://web.archive.org/web/20090409124847/http://www.tate.org.uk/magazine/issue2/moore.htm |url=http://www.tate.org.uk/magazine/issue2/moore.htm |access-date=16 August 2008 |archive-date=9 April 2009 |url-status=dead}}</ref> [[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.<ref name="Foss">{{cite book|first=Brian|last=Foss|publisher=Yale University Press|year=2007|title=War paint: Art, War, State and Identity in Britain, 1939–1945 |isbn=978-0-300-10890-3}}</ref> 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.<ref name="WW2Art">{{cite book|publisher=Imperial War Museum|year=2007|title=Art from the Second World War|isbn=978-1-904897-66-8}}</ref> 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'.<ref>{{cite journal|last=Jelbert|first=Rebecca|date=2021|title=Henry Moore's Wartime Drawings (1939–1942) and the Influence of Gustave Doré's Illustrations for Dante's 'Divine Comedy'|url=https://muse.jhu.edu/article/872084|journal=Dante Studies|doi=10.1353/das.2021.0005|volume=139|pages=154–187|s2cid=254221459 }}</ref> 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.<ref name="Foss"/>
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, Hertfordshire|Perry Green]] near [[Much Hadham]], [[Hertfordshire]].<ref>Berthoud, 192–193.</ref> 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.<ref name="Henry Moore">{{cite web|url=https://www.guggenheim.org/artwork/artist/henry-moore |title=Henry Moore |publisher=Guggenheim Collection |access-date=28 February 2017}}</ref>
=== Later years ===
[[File:Henry Moore, Family Group (1950).jpg|thumb|left|''[[Family Group (Moore)|Family Group]]'' (1950) bronze, [[The Barclay School|Barclay School]], [[Stevenage]], [[Hertfordshire, England|Hertfordshire]]. Moore's first large-scale commission after the Second World War.]]
[[File:Shahbanu Farah, Opening ceremony of Henry Moore Gallery in Tehran.png|thumb|[[Farah Pahlavi|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.<ref>"Henry Moore: The Human Dimension". HMF Enterprises, 1991. 83. {{ISBN|0-85331-610-4}}</ref> 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.<ref>Beckett et al., 96.</ref>
Before the war, Moore had been approached by educator [[Henry Morris (education)|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 Village College|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.<ref>Berthoud, 221–222.</ref> 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 (Moore)|Family Group]]'' became Moore's first large-scale public bronze.<ref>Berthoud, 261.</ref>
[[File:UNESCO History, Moving Henry Moore sculpture - UNESCO - PHOTO0000002731 0001.tiff|thumb|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,<ref>Wilkinson, 275.</ref> and in 1958 produced a [[UNESCO Reclining Figure 1957-58|large marble reclining figure]] for the [[UNESCO]] building in Paris.<ref>{{Cite web |title=Moore, Henry (1898-1986) - RECLINING FIGURE |url=https://www.unesco.org/artcollection/NavigationAction.do?idOeuvre=3066 |access-date=12 December 2023 |website=www.unesco.org}}</ref> 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]]<ref>[http://www.tate.org.uk/britain/exhibitions/caro/chronology.htm Anthony Caro]. Tate exhibition catalogue, 2005. Retrieved on 20 September 2008.</ref> [[Roland Piché]]<ref>{{cite web |title=Piche, Roland, b.1938 {{!}} Art UK |url=https://artuk.org/discover/artists/piche-roland-b-1938 |access-date=16 February 2023 |website=artuk.org }}</ref> and [[Richard Wentworth (artist)|Richard Wentworth]].<ref>[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2132&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio, Wentworth]. tate.org.uk. Retrieved on 20 September 2008.</ref>
On the campus of the [[University of Chicago]] in December 1967, 25 years to the minute<ref>3:36 p.m., 2 December 1967. In: McNally, Rand. "Illinois; Guide & Gazetteer". Illinois Sesquicentennial Commission. University of Virginia, 1969. 199.</ref> after the team of physicists led by [[Enrico Fermi]] achieved the first controlled, self-sustaining nuclear chain reaction, Moore's ''[[Nuclear Energy (sculpture)|Nuclear Energy]]'' was unveiled on the site of what was once the university's football field stands, in the [[rackets (sport)|rackets court]] beneath which the experiments had taken place.<ref>Beckett et al., 221.</ref> 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."<ref>Sachs, Robert G. "[http://physics.uchicago.edu/moore_sculpture.html Henry Moore, sculptor]". In "The Nuclear Chain Reaction-Forty Years Later". [[University of Chicago]]. Retrieved on 11 November 2007. {{webarchive |url=https://web.archive.org/web/20071113135127/http://physics.uchicago.edu/moore_sculpture.html|date=13 November 2007}}</ref> 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.<ref>[[:File:20070701 Man Enters The Cosmos Explanatory Plaques.JPG|Enscripted on the plaque at the base of the sculpture]].</ref>
[[File:Henry Moore Allan Warren.jpg|thumb|Moore in his studio in England (1975), by [[Allan Warren]]]]<!--[[File:Huk, Oslo — sculpture.jpg|thumb|left|''Large Arch,'' 1963-1969, sandcast in [[bronze]], [[Oslo, Norway]]]]-->
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 [[Belvedere (fort)|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 1962–65|Knife Edge Two Piece]]'' in 1962 for [[College Green, London|College Green]] near the [[Palace of Westminster|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, London|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."<ref>Chamot, Mary; Farr, Dennis; [[Martin Butlin|Butlin, Martin]]. "[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131163721/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 |date=31 January 2009 }}". "The Modern British Paintings, drawings and Sculpture", Volume II. London: Oldbourne Press, 1964. 481. Retrieved on 5 September 2008.</ref>
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 [[Inheritance Tax (United Kingdom)|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, Hertfordshire|Perry Green]], with a gallery, sculpture park and studios.<ref>{{cite news |author=Kennedy |first=Maev |date=22 April 1999 |title=A hush falls over Henry Moore country |website=The Guardian |url=http://www.theguardian.com/theguardian/1999/apr/22/features11.g23 |access-date=7 January 2023}}</ref>
In 1979, Henry Moore became unexpectedly known in Germany when his sculpture ''Large Two Forms'' was installed in the forecourt of the [[Federal Chancellery (Bonn)|German Chancellery]] in Bonn, which was the capital city of [[West Germany]] prior to German reunification in October 1990.<ref>{{cite web|url=http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=2498|title=GHDI – Image|work=ghi-dc.org}}</ref>
Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.<ref>{{cite book |last=Davis |first=Alexander |url=https://books.google.com/books?id=WVnrAAAAMAAJ |title=Henry Moore Bibliography: 1986–1991, together with supplementary 1898–1986 publications |date= |publisher=Henry Moore Foundation |year=1992 |isbn=978-0-906909-09-6 |volume=4 |pages=140}}</ref>
[[File:Henry-moore-ago.jpg|upright=3.2|center|thumb|The [[Art Gallery of Ontario]]'s Henry Moore collection is the largest public collection of his works in the world]].
== Style ==
[[File:Stuttgart-henry-moore-liegende.jpg|thumb|left|Moore's bronze ''[[Draped Reclining Woman 1957–58]]'' ("Die Liegende") in [[Stuttgart]], typical of his early reclining figures]]
Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.{{citation needed|date=July 2019}}
Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with [[Barbara Hepworth]]'s sculptures.<ref>{{Cite web |title=The Hole of Life |url=https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-url=https://web.archive.org/web/20110706045046/https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-date=6 July 2011 |access-date=12 December 2023 |website=Tate Magazine}}</ref> Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows.{{citation needed|date=November 2022}} The plaster ''[[Reclining Figure: Festival]]'' (1951) in the [[Tate]], is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture.{{citation needed|date=November 2022}} When Moore's niece asked why his sculptures had such simple titles, he replied, <blockquote>All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.<ref>{{Cite news |last=Day |first=Elizabeth |date=2008-07-26 |title=The Moore legacy |work=The Observer |url=https://www.theguardian.com/artanddesign/2008/jul/27/1 |access-date=2023-12-12 |issn=0029-7712}}</ref></blockquote>
Moore's early work is focused on [[Glossary of sculpting#direct carving|direct carving]], in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into [[modernism]] paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory [[Sketch (drawing)|sketches]] and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.<ref>{{Cite news |last=Sabbath |first=Lawrence |date=5 October 1985 |title=Show chance to view '20th-century Michelangelo' |pages=11 |work=[[The Gazette (Montreal)|The Gazette]] |url=https://news.google.com/newspapers?nid=1946&dat=19851005&id=fxUyAAAAIBAJ&sjid=4qUFAAAAIBAJ&pg=1222,2443455 |archive-url=}}</ref>
[[File:Rotterdam kunstwerk Wall Relief no.1.jpg|thumb|upright=1.35|''Wall Relief No. 1'', (1955), Bouwcentrum, [[Rotterdam]]]]
After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the [[Lost-wax casting|lost wax]] technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body.
At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final [[Molding (process)|moulding]] and [[casting]] at a bronze [[foundry]]. Moore often refined the final full plaster shape and added surface marks before casting.{{citation needed|date=July 2019}}
Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for ''West Wind'' for the [[London Underground]] Building at [[55 Broadway]] in London, joining the company of [[Jacob Epstein]] and [[Eric Gill]].<ref>Berthoud, pp. 92–93.</ref> In 1953, he completed a four-part screen carved in [[Portland stone]] for the Time-Life Building in New Bond Street, London,<ref>Berthoud, pp. 280–282.</ref> and in 1955 Moore turned to his first and only work in carved brick, ''Wall Relief'' at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.<ref>''Sculpture in Rotterdam''. van Adrichem, Jan; Bouwhuis, Jelle; Dölle, Mariette. 2002. Rotterdam: Centre for the Arts. p. 180.</ref>
[[File:HenryMoore RecliningFigure 1951.jpg|thumb|''[[Large Reclining Figure]]'' (1984, based on a smaller model of 1938), [[Fitzwilliam Museum, Cambridge]]]]
The aftermath of the [[Second World War]], [[The Holocaust]], and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as [[Jean-Paul Sartre]] advocated a similar reductive philosophy.<ref name="C34">Causey, 34.</ref> At an introductory speech in New York City for an exhibition of one of the finest [[Modernism|modernist]] sculptors, [[Alberto Giacometti]], Sartre spoke of "The beginning and the end of history".<ref>Morris, Frances. "Paris Post War: Art and Existentialism 1945–55". Tate Gallery, 1993. {{ISBN|1-85437-124-X}}</ref> Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.<ref name="C34"/>
== Legacy ==
[[File:Caro DreamCity 1996.jpg|thumb|left|alt=Abstract sculpture made of rusting steel|''Dream City'' by Anthony Caro, (1996), rusting steel, at the [[Yorkshire Sculpture Park]].]]
Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 [[Venice Biennale]], eight new British sculptors produced their ''[[Geometry of Fear]]'' works as a direct contrast to the ideals behind Moore's idea of ''Endurance, Continuity'';<ref>Causey, 71.</ref> his large bronze ''Double Standing Figure'' stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.<ref name=arts>{{cite web|first=Ann |last=Jones |year=2007 |url= http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |title=Geometry of Fear: Works from the Arts Council Collection |archiveurl=https://web.archive.org/web/20150630034027/http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |archivedate=30 June 2015 |type=exhibition leaflet |location=London |publisher=Southbank Centre |accessdate= 6 May 2017}}</ref>
Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are [[Sir Anthony Caro]],<ref>{{Cite web |title=Anthony Caro Biography |url=http://www.anthonycaro.org/frames-related/biography.htm |archive-url=https://web.archive.org/web/20160201090252/http://www.anthonycaro.org/frames-related/biography.htm |archive-date=1 February 2016 |access-date=12 December 2023 |website=anthonycaro.org}}</ref> [[Phillip King (artist)|Phillip King]]<ref>{{Cite web |date=31 May 2005 |title=Phillip King |url=http://www.sculpture.org.uk/artists/PhillipKing/ |archive-url=https://web.archive.org/web/20080531062158/http://www.sculpture.org.uk/artists/PhillipKing/ |archive-date=31 May 2008 |access-date=12 December 2023 |website=www.sculpture.org.uk}}</ref> and [[Isaac Witkin]],<ref>{{Cite news |last=Johnson |first=Ken |date=29 April 2006 |title=Isaac Witkin, 69, Innovator in Abstract Metal Sculpture, Is Dead |work=[[The New York Times]] |url=https://www.nytimes.com/2006/04/29/obituaries/isaac-witkin-69-innovator-in-abstract-metal-sculpture-is-dead.html |access-date=12 December 2023}}</ref> all three having been assistants to Moore. Other artists whose work was influenced by him include [[Helaine Blumenfeld]], [[Drago Marin Cherina]], [[Lynn Chadwick]], [[Eduardo Paolozzi]], [[Bernard Meadows]], [[Reg Butler]], [[William Turnbull (artist)|William Turnbull]], [[Robert Adams (sculptor and designer)|Robert Adams]], [[Kenneth Armitage]], and Geoffrey Clarke.<ref name=":1">{{Cite web |last=Turner |first=Chris |date=1 August 2003 |title=The Bronze Age |url=http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-url=https://web.archive.org/web/20160303212956/http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-date=3 March 2016 |access-date=12 December 2023}}</ref>
'''Henry Moore Foundation''' helps to preserve his legacy by supporting sculptors and creating exhibitions, its goal is to develop appreciation for visual arts. The Foundation was established by Henry and his family in 1977 in England, and still working.<ref>{{cite web|title=About the Foundation|url=https://www.henry-moore.org/about-the-foundation|access-date=29 November 2020|website=Henry Moore Foundation}}</ref>
=== Controversy ===
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.<ref>{{Cite news |last=David |first=Wilcock |date=13 July 2012 |title=Henry Moore sundial stolen from former garden |work=[[The Independent]] |url=https://www.independent.co.uk/news/uk/crime/henry-moore-sundial-stolen-from-former-garden-7941456.html |access-date=12 December 2023}}</ref> 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.<ref>{{Cite news |date=14 October 2023 |title=Bronze Henry Moore work stolen from sculpture park |work=[[Evening Standard]] |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=12 December 2023}}</ref> In October 2013 ''Standing Figure'' (1950), one of four Moore pieces in [[Glenkiln Sculpture Park]], estimated to be worth £3 million, was stolen.<ref name="standard.co.uk">{{cite web |date=14 October 2013 |title=Bronze Henry Moore work stolen from sculpture park |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=7 January 2023 |website=Evening Standard}}</ref><ref>{{cite news |url=https://www.bbc.co.uk/news/uk-scotland-south-scotland-24522871 |title=Missing Henry Moore bronze statue 'worth £3m' |work=BBC News |date=13 October 2013 |access-date=15 October 2013}}</ref>
[[File:Reclining Figure at Yorkshire Sculpture Park - geograph.org.uk - 519117.jpg|thumb|right|''[[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.<ref>{{cite web|last=Vogel|first=Carol|date=5 November 2012|title=British Art World Figures Protest Possible Sale of a Henry Moore|url=https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2012/11/05/british-art-world-figures-protest-possible-sale-of-a-henry-moore/|access-date=7 January 2023|website=ArtsBeat}}</ref> 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.<ref>{{cite news |last=Youngs |first=Ian |date=5 October 2012 |title=Council to sell Henry Moore sculpture |work=BBC News |url=https://www.bbc.com/news/entertainment-arts-19846843 |access-date=7 January 2023}}</ref> 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.<ref>{{Cite news |last=Alberge |first=Dalya |date=3 November 2012 |title=Britain's cultural elite battles to halt sale of Henry Moore sculpture |work=[[The Observer]] |url=https://www.theguardian.com/culture/2012/nov/03/henry-moore-sculpture |access-date=12 December 2023}}</ref>
=== Popular interest ===
Today, the [[Henry Moore Foundation]] manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with {{convert|70|acre}} 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.<ref>"[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 Unfinished Business: Mark Wilsher on view from 26 July] {{webarchive|url=https://web.archive.org/web/20081006163517/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 |date=6 October 2008 }}". Henry Moore Foundation, 2008. Retrieved on 22 September 2008.</ref>
== Collections ==
[[File:HenryMooreTorontoCH1.jpg|''Three Way Piece No. 2 (The Archer),'' (1964–65) has been on display in front of [[Toronto City Hall]] in [[Nathan Phillips Square]] since 1966.|thumb|alt=Photograph of a large bronze abstract sculpture, in front of a glass and concrete building.]]
=== England ===
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{{nbsp}}years in [[Perry Green, Hertfordshire|Perry Green]] in Hertfordshire. The site and the collection are now owned by the [[Henry Moore Foundation]].<ref>{{cite web|title=Visiting FAQs – Studios & Gardens|url=https://henry-moore.org/studios-and-gardens/plan-your-visit-studios-gardens/visiting-faqs-studios-gardens/|access-date=7 January 2023|website=Henry Moore Foundation}}</ref>
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 {{cvt|3.6|m}} 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.<ref>{{cite news|last=Bowcott|first= Owen|url=https://www.theguardian.com/uk/2005/dec/19/arts.arttheft|title=Lorry used to steal £3m Moore sculpture found on housing estate|newspaper=[[The Guardian]]|date=19 December 2005|access-date=9 June 2009}}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/england/beds/bucks/herts/4537670.stm|title=£3m Henry Moore sculpture stolen|work=[[BBC News Online]]|date=17 December 2005|access-date=9 June 2009}}</ref> In July 2012 the {{convert|22|in|cm}} bronze ''Sundial 1965'', valued at £500,000, was stolen from the Moore Foundation.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2012/jul/13/henry-moore-sundial-stolen-foundation?newsfeed=true|title=Henry Moore sundial sculpture stolen from museum garden|work=The Guardian|date=13 July 2012 }}</ref> 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.<ref>{{cite news|url=https://www.bbc.co.uk/news/uk-england-beds-bucks-herts-20591757 |title=Henry Moore sundial theft pair jailed |work=[[BBC News Online]]|date=4 December 2012|access-date=3 May 2013}}</ref>
Moore presented 36 sculptures, as well as drawings, maquettes and other works to the [[Tate Gallery]] in 1978.<ref>{{Cite web |last= |title=Henry Moore at Tate |url=https://www.tate.org.uk/visit/tate-britain/display/henry-moore/henry-moore-tate |access-date=12 December 2023 |website=Tate }}</ref>
=== Canada ===
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: Archer|Three Way Piece No. 2 (The Archer)]]'' has also been on display in [[Nathan Phillips Square]] at [[Toronto City Hall]] since 1966.<ref>{{cite web|url=http://www.toronto.ca/311/knowledgebase/59/101000040959.html|title=The Archer – sculpture – Nathan Phillips Square|work=toronto.ca|url-status=dead|archive-url=https://web.archive.org/web/20141012024555/http://www.toronto.ca/311/knowledgebase/59/101000040959.html|archive-date=12 October 2014}}</ref><ref>{{Cite web |date=2017-11-23 |title=A Step Forward in Time: Public Art |url=https://www.toronto.ca/explore-enjoy/history-art-culture/online-exhibits/web-exhibits/web-exhibits-local-government/a-step-forward-in-time-torontos-new-city-hall/a-step-forward-in-time-public-art/ |access-date=2024-04-02 |website=City of Toronto |language=en-CA}}</ref>
=== United States ===
Works by Moore are in the collections of institutions in 25 states and the District of Columbia.<ref>{{cite web |title=Henry Moore Works in Public |url=https://henry-moore.org/henry-moore-works-in-public/ |access-date=30 July 2023 |website=Henry Moore Foundation}}</ref>
There are eleven large sculptural bronze works by Moore in the grounds of the [[Nelson-Atkins Museum of Art]] in [[Kansas City, Missouri]].<ref name=":0">{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/henry-spencer-moore/objects |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref><ref>{{cite web |title=Donald J. Hall Sculpture Park |url=https://nelson-atkins.org/collection/donald-j-hall-sculpture-park/ |access-date=30 July 2023 |website=Nelson Atkins }}</ref> There is also a large bronze, the "Seated Woman" of 1957, inside the museum.<ref>{{cite web |title=Seated Woman |url=https://art.nelson-atkins.org/objects/21761/seated-woman;jsessionid=1B892C99F27DD589A49600490663BC7D |access-date=30 July 2023 |website=art.nelson-atkins.org }}</ref> This is the largest collection of Moore's monumental bronzes in the United States.<ref>{{cite web |title=Nelson-Atkins Museum of Art, Kansas City – Collections – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/collections/16952/nelsonatkins-museum-of-art-kansas-city |access-date=30 July 2023 |website=catalogue.henry-moore.org}}</ref> 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.<ref>{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/-/objects/images?page=3 |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref> Twenty-eight more tapestries were produced during Moore's lifetime.<ref>{{cite web |title=Search * (Objects) – Search – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/search/*/objects/images?filter=classifications:Tapestry&page=2 |access-date=5 August 2023 |website=catalogue.henry-moore.org}}</ref>
== Recognition ==
[[File:Heroic Bust, Henry Moore by Alexander Stoddart 1992.jpg|thumb|upright|Heroic Bust, Henry Moore by [[Alexander Stoddart]] 1992]]
In 1948, Moore won the International Sculpture Prize at the [[Venice Biennale]].<ref>"[http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131232706/http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 |date=31 January 2009 }}". Visual Arts Department, British Council. Retrieved on 5 September 2008.</ref> He turned down a [[knight]]hood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".<ref name=":1" /> He was, however, appointed a [[Member of the Order of the Companions of Honour]] in 1955 and <ref>Berthould, p. 301.</ref> a [[Member of the Order of Merit]] in 1963,<ref>Berthould, p. 302.</ref> and received the [[Erasmus Prize]] in 1968.<ref>Berthould, p. 397.</ref> He was also a member of both the [[American Academy of Arts and Sciences]] and the [[American Philosophical Society]].<ref>{{cite web |title=Henry Spencer Moore |url=https://www.amacad.org/person/henry-spencer-moore |access-date=15 June 2022 |website=American Academy of Arts & Sciences }}</ref><ref>{{cite web |title=APS Member History |url=https://search.amphilsoc.org/memhist/search?creator=Henry+Moore&title=&subject=&subdiv=&mem=&year=&year-max=&dead=&keyword=&smode=advanced |access-date=15 June 2022 |website=search.amphilsoc.org}}</ref>
He was a trustee of both the [[National Gallery, London|National Gallery]] and [[Tate Gallery]].<ref>Chamot, Mary; Farr, Dennis; Butlin, Martin. "[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1659&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio Henry Moore OM, CH ]". From ''The Modern British Paintings, Drawings and Sculpture, London 1964, II''. Reproduced at Tate.org. Retrieved on 21 August 2008.</ref> His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society,<ref>{{cite web|date=2 December 2022|title=The Turner Society|url=https://www.turnersociety.com/|access-date=7 January 2023|website=www.turnersociety.com}}</ref> which had been founded to campaign for a separate museum in which the whole Turner Bequest<ref>"[http://www.tate.org.uk/servlet/BrowseGroup?cgroupid=999999998 Turner Collection]". [[Tate Gallery]]. Retrieved on 9 August 2008.</ref> might be reunited, an aim defeated by the National Gallery and Tate Gallery.{{citation needed|date=July 2019}}
Given to the City of London by Moore and the Contemporary Art Society in 1967, ''[[Knife Edge Two Piece 1962–65]]'' is displayed in [[College Green, London|Abingdon Street Gardens]], opposite the [[Palace of Westminster|Houses of Parliament]], where its regular appearance in the background of televised news reports from Westminster makes it Moore's most prominent piece in Britain. The ownership of ''Knife Edge Two Piece 1962–65'' was disputed until its 2011 acquisition by the Parliamentary Art Collection.<ref name=ParlNews>{{cite news |url= http://www.parliament.uk/business/news/2013/february/conservation-of-henry-moore-sculpture-to-begin/|title=Conservation of Henry Moore sculpture to begin |location =London |date=11 February 2013}}</ref>
== Art market ==
By the end of his career, Moore was the world's most successful living artist at auction. In 1982, four years before his death, [[Sotheby's]] in New York sold a {{convert|6|ft|adj=on}} ''Reclining Figure'' (1945), for $1.2 million to collector Wendell Cherry. Although a first record of $4.1 million was set in 1990, Moore's market slumped during the recession that followed. In 2012, his eight-foot bronze, ''[[Reclining Figure: Festival]]'' (1951) sold for a record £19.1 million at [[Christie's]], making him the second most expensive 20th-century British artist after [[Francis Bacon (artist)|Francis Bacon]].<ref>{{Cite news |last=Gleadell |first=Colin |date=13 February 2012 |title=Modern sales review: when Moore means more |work=[[The Daily Telegraph|The Telegraph]] |url=https://www.telegraph.co.uk/culture/art/artsales/9080076/Modern-sales-review-when-Moore-means-more.html |access-date=12 December 2023}}</ref>
{{Clear}}
== Gallery ==
<gallery class="center" widths="176" heights="150">
File:MooreJerusalem1.jpg|''[[Draped Seated Woman 1957–58|Draped Seated Woman]]'' (1957–58), [[Hebrew University of Jerusalem]]
File:Moore ThreePieceRecliningFigureNo1 1961.jpg|''Three Piece Reclining Figure No.1'' (1961), [[Yorkshire Sculpture Park]]
File:Knife Edge Two Piece - Henry Moore.jpg|''[[Knife Edge Two Piece]]'' (1962–65) ([[bronze]]), (1962), opposite [[House of Lords]], [[London]]
File:Henry Moore's sculpture, Q. E. Park, Vancouver.jpg|''[[Knife Edge Two Piece]]'' (1962–65), Queen Elizabeth Park, [[Vancouver, B.C.]], Canada. 1970.
File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg|''Two Piece Reclining Figure No. 5'' (1963–64), bronze, [[Kenwood House]] grounds, [[London]]
File:Oval with Points.jpg|''[[Oval with Points]]'' (1968–70), [[Henry Moore Foundation]]
File:'Sheep Piece' von Henry Moore beim Hafen Riesbach in Zürich-Seefeld 2014-03-12 14-44-05.JPG|''[[Sheep Piece 1971–72|Sheep Piece]]'' (1971–72), [[Zürichhorn]], Zürich-[[Seefeld (Zürich)|Seefeld]], Switzerland
File:HenryMoor AGO.JPG|''Large Two Forms'' (1969), [[Art Gallery of Ontario]]
File:Moore Hongkong.JPG|''Double Oval'' (1966), [[Jardine House]], [[Central, Hong Kong]]
File:Henry Moore - Sculpture with hole and light.jpg|''Sculpture with Hole and Light'' (1967), [[Kröller-Müller Museum]], [[Otterlo]]
File:Three Picture Sculpture - Henry Moore.jpg|''Three Piece Sculpture: Vertebrae'' (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005
File:The Arch - Henry Moore.jpg|''The Arch'' (1963/69), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 4 in Schwäbisch Hall.jpg|''Large Interior Form'' (1953–54), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 3 in Schwäbisch Hall.jpg|''Reclining Figure'' (1982), Henry Moore – Kunst in Schwäbisch Hall
File:HenryMoore TwoPieceRecliningFigureNo3.jpg|''Two Piece Reclining Figure No. 3'', Henry Moore, Brandon Estate, Kennington, London
File:018 ceh 0125.jpg|''Reclining Figure (1982), [[Worcester College, Oxford]]''
</gallery>
== See also ==
*[[List of sculptures by Henry Moore]]
== References ==
{{reflist}}
== Works cited ==
* {{cite book|last1=Beckett|last2=Russell|first1=Jane|first2=Fiona|title=Henry Moore: Space, Sculpture, Politics|year=2003|publisher=Ashgate|location=Burlington, Vermont|isbn=0-7546-0836-0}}
* {{cite book|last=Berthoud|first=Roger|title=The Life of Henry Moore|url=https://books.google.com/books?id=5I2wAAAAIAAJ |year=2003|publisher=Giles de la Mare|edition=2|isbn=978-1-900357-22-7}}
* {{cite book|last=Causey|first=Andrew|title=Sculpture Since 1945|year=1998|publisher=Oxford University Press|location=Oxford|isbn=0-19-284205-6|url-access=registration|url=https://archive.org/details/sculpturesince190000caus}}
* {{cite book|last=Grohmann|first=Will|title=The Art of Henry Moore|publisher=H. N. Abrams|location=New York|year=1960}}
== Further reading ==
* {{cite book|last=Darracott|first=J.|title=Henry Moore War Drawings|year=1975}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore Textiles|publisher=Lund Humphries|location=Surrey|year=2009|isbn=978-1-84822-052-2}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore: Large Late Forms|publisher=Gagosian|location=London|year=2013}}
* {{cite book|last=Feldman|first=Anita|title=Body & Void: Echoes of Moore in Contemporary Art|publisher=The Henry Moore Foundation|location=Perry Green|year=2014|isbn=978-0-906909-32-4}}
* {{cite book|last1=Feldman|first1=Anita|last2=Pinet|first2=Hélène|last3=Moore|first3=Mary|last4=Blanchetière|first4=François|title=Moore Rodin|publisher=The Henry Moore Foundation|location=Perry Green|year=2013|isbn=978-0-906909-31-7}}
* {{cite book|last1=Feldman|last2=Woodward|first1=Anita|first2=Malcolm|title=Henry Moore Plasters|publisher=Royal Academy of Arts|location=London|year=2011|isbn=978-1-907533-11-2}}
* {{cite book|last=Hedgecoe|first=John|title=A Monumental Vision: The Sculpture of Henry Moore|year=1998|publisher=Collins & Brown|isbn=1-55670-683-9}}
* {{cite book|editor-last=Kosinski|editor-first=Dorothy|title=Henry Moore: Sculpting the 20th Century|publisher=Yale University Press|location=New Haven|year=2001}}
* {{cite book|last1=Mitchinson|first1=David|last2=Feldman Bennet|first2=Anita|title=Moore: The Graphics|year=2002|isbn=0-906909-26-0}}
* {{cite book|last=Moore|first=Henry|title=Henry Moore: Model to Monument|year=1986|publisher=Kent Fine Art|location=New York|isbn=1-878607-21-9}}
* {{cite book|last1=O'Reilly|first1=Sally|last2=Oliver|first2=Clare|title=Henry Moore|year=2003|publisher=Scholastic Library|isbn=0-531-16643-0|url-access=registration|url=https://archive.org/details/henrymoore00orei}}
* {{cite book|last=Seldis|first=Henry J.|title=Henry Moore in America|url=https://archive.org/details/henrymooreinamer00seld|url-access=registration|publisher=Praeger|year=1973|isbn=978-0-87587-054-0 }}
* {{cite book|last=Sylvester|first=David|title=Henry Moore|publisher=Arts Council of Great Britain|location=London|year=1968}}
* {{cite book|title=Henry Moore: At Dulwich Picture Gallery|publisher=Scala|year=2004|isbn=1-85759-352-9}}
== External links ==
{{commons}}
* [https://www.henry-moore.org Henry Moore Foundation website]
* {{IMJ-Collections|first= Henry|last=Moore|access-date=1 September 2016}}
* [http://www.sculpture.org/documents/scmag01/julaug01/moore/moore.shtml "The Enigma of Henry Moore"] by Brian McAvera. ''Sculpture Magazine'', July/August 2001: Vol. 20, No. 6.
* [http://news.bbc.co.uk/1/hi/entertainment/arts_and_culture/8529691.stm BBC article with archive film of Moore at work]
* [http://www.tate.org.uk/art/artworks?aid=1659 3D model of ''Recumbent Figure'' (1938)] from Tate
* [http://www.unesco.org/artcollection/DetailAction.do?&idOeuvre=1547&nouvelleLangue=en The UNESCO Works of Art Collection]
* [https://www.wsj.com/articles/SB10001424052748703465204575208340440165122?mod=WSJ_LifeStyle_Lifestyle_5 An Intimate Moore, Tom Freudenheim, ''The Wall Street Journal'', 30 June 2010]
* [https://web.archive.org/web/20120927064721/http://www.kew.org/henry-moore/ Henry Moore at Kew, 2007]
{{Henry Moore}}
{{Unit One|state=collapsed}}
{{Subject bar|commons=yes|commons-search=Category:Henry Moore|q=yes|d=yes|d-search=Q151097}}
{{Authority control}}
{{DEFAULTSORT:Moore, Henry}}
[[Category:1898 births]]
[[Category:1986 deaths]]
[[Category:Military personnel from Yorkshire]]
[[Category:20th-century British sculptors]]
[[Category:Alumni of Leeds Arts University]]
[[Category:Alumni of the Royal College of Art]]
[[Category:British Army personnel of World War I]]
[[Category:British contemporary artists]]
[[Category:English people of Irish descent]]
[[Category:English sculptors]]
[[Category:English male sculptors]]
[[Category:Fellows of the British Academy]]
[[Category:London Regiment soldiers]]
[[Category:Members of the Order of Merit]]
[[Category:Members of the Order of the Companions of Honour]]
[[Category:Members of the Serbian Academy of Sciences and Arts]]
[[Category:British modern sculptors]]
[[Category:People from Castleford]]
[[Category:People from Much Hadham]]
[[Category:Recipients of the Pour le Mérite (civil class)]]
[[Category:British war artists]]
[[Category:World War II artists]]
[[Category:Académie Colarossi alumni]]
[[Category:People educated at Castleford Academy]]
[[Category:Members of the American Philosophical Society]]
[[Category:Foreign members of the Serbian Academy of Sciences and Arts]]' |
Parsed HTML source of the new revision (new_html) | '<div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><p>He was a black transgender woman who was attached to rabbit farts </p><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">English artist known for sculpture (1898–1986)</div>
<style data-mw-deduplicate="TemplateStyles:r1033289096">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}</style><div role="note" class="hatnote navigation-not-searchable">For other people named Henry Moore, see <a href="/info/en/?search=Henry_Moore_(disambiguation)" class="mw-disambig" title="Henry Moore (disambiguation)">Henry Moore (disambiguation)</a>.</div>
<p class="mw-empty-elt">
</p>
<style data-mw-deduplicate="TemplateStyles:r1218072481">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}body.skin-minerva .mw-parser-output .infobox-header,body.skin-minerva .mw-parser-output .infobox-subheader,body.skin-minerva .mw-parser-output .infobox-above,body.skin-minerva .mw-parser-output .infobox-title,body.skin-minerva .mw-parser-output .infobox-image,body.skin-minerva .mw-parser-output .infobox-full-data,body.skin-minerva .mw-parser-output .infobox-below{text-align:center}html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}}</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above"><div class="fn">Henry Moore</div><div class="honorific-suffix" style="font-size: 77%; font-weight: normal;"><a href="/info/en/?search=Order_of_Merit" title="Order of Merit">OM</a> <a href="/info/en/?search=Member_of_the_Order_of_the_Companions_of_Honour" class="mw-redirect" title="Member of the Order of the Companions of Honour">CH</a> <a href="/info/en/?search=Fellow_of_the_British_Academy" title="Fellow of the British Academy">FBA</a></div></th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/info/en/?search=File:Henry_Moore_in_workshop_Allan_Warren_(cropped).jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg/220px-Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg" decoding="async" width="220" height="251" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg/330px-Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/17/Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg/440px-Henry_Moore_in_workshop_Allan_Warren_%28cropped%29.jpg 2x" data-file-width="1865" data-file-height="2125" /></a></span><div class="infobox-caption">Moore in 1975</div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Henry Spencer Moore</div><br /><span style="display:none">(<span class="bday">1898-07-30</span>)</span>30 July 1898<br /><div style="display:inline" class="birthplace"><a href="/info/en/?search=Castleford" title="Castleford">Castleford</a>, <a href="/info/en/?search=West_Riding_of_Yorkshire" title="West Riding of Yorkshire">West Riding of Yorkshire</a>, England</div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">31 August 1986<span style="display:none">(1986-08-31)</span> (aged 88)<br /><div style="display:inline" class="deathplace"><a href="/info/en/?search=Much_Hadham" title="Much Hadham">Much Hadham</a>, <a href="/info/en/?search=Hertfordshire" title="Hertfordshire">Hertfordshire</a>, England</div></td></tr><tr><th scope="row" class="infobox-label">Education</th><td class="infobox-data"><a href="/info/en/?search=Leeds_Arts_University" title="Leeds Arts University">Leeds School of Art</a><br /><a href="/info/en/?search=Royal_College_of_Art" title="Royal College of Art">Royal College of Art</a></td></tr><tr><th scope="row" class="infobox-label">Known for</th><td class="infobox-data">Sculpture, drawing, <a href="/info/en/?search=Graphics" title="Graphics">graphics</a>, textiles</td></tr><tr><th scope="row" class="infobox-label"><span style="white-space:nowrap;">Notable work</span></th><td class="infobox-data"><a href="/info/en/?search=List_of_sculptures_by_Henry_Moore" title="List of sculptures by Henry Moore">List of sculptures</a></td></tr><tr><th scope="row" class="infobox-label">Movement</th><td class="infobox-data category">Bronze Sculpture, <a href="/info/en/?search=Modernism" title="Modernism">Modernism</a></td></tr><tr><th scope="row" class="infobox-label">Spouse</th><td class="infobox-data"><style data-mw-deduplicate="TemplateStyles:r1151524712">.mw-parser-output .marriage-line-margin2px{line-height:0;margin-bottom:-2px}.mw-parser-output .marriage-line-margin3px{line-height:0;margin-bottom:-3px}.mw-parser-output .marriage-display-ws{display:inline;white-space:nowrap}</style>
<div class="marriage-display-ws"><div style="display:inline-block;line-height:normal;">Irina Radetsky</div> <div style="display:inline-block;">​</div>(<abbr title="married">m.</abbr> 1929)<wbr />​</div></td></tr><tr><th scope="row" class="infobox-label">Children</th><td class="infobox-data">1</td></tr></tbody></table>
<p><b>Henry Spencer Moore</b> <span class="noexcerpt nowraplinks" style="font-size:100%; font-weight:normal;"><a href="/info/en/?search=Member_of_the_Order_of_Merit" class="mw-redirect" title="Member of the Order of Merit">OM</a> <a href="/info/en/?search=Companion_of_Honour" class="mw-redirect" title="Companion of Honour">CH</a> <a href="/info/en/?search=Fellow_of_the_British_Academy" title="Fellow of the British Academy">FBA</a></span> (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-<a href="/info/en/?search=Abstract_art" title="Abstract art">abstract</a> monumental bronze sculptures which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from <a href="/info/en/?search=The_Blitz" title="The Blitz">the Blitz</a> during the Second World War, along with other graphic works on paper.
</p><p>His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his <a href="/info/en/?search=Yorkshire" title="Yorkshire">Yorkshire</a> birthplace.
</p><p>Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of <a href="/info/en/?search=Modernism" title="Modernism">modernism</a> to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the <a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a>, which continues to support education and promotion of the arts.
</p>
<div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Life"><span class="tocnumber">1</span> <span class="toctext">Life</span></a>
<ul>
<li class="toclevel-2 tocsection-2"><a href="#Early_life"><span class="tocnumber">1.1</span> <span class="toctext">Early life</span></a></li>
<li class="toclevel-2 tocsection-3"><a href="#Beginnings_as_a_sculptor"><span class="tocnumber">1.2</span> <span class="toctext">Beginnings as a sculptor</span></a></li>
<li class="toclevel-2 tocsection-4"><a href="#Hampstead"><span class="tocnumber">1.3</span> <span class="toctext">Hampstead</span></a></li>
<li class="toclevel-2 tocsection-5"><a href="#Second_World_War"><span class="tocnumber">1.4</span> <span class="toctext">Second World War</span></a></li>
<li class="toclevel-2 tocsection-6"><a href="#Later_years"><span class="tocnumber">1.5</span> <span class="toctext">Later years</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-7"><a href="#Style"><span class="tocnumber">2</span> <span class="toctext">Style</span></a></li>
<li class="toclevel-1 tocsection-8"><a href="#Legacy"><span class="tocnumber">3</span> <span class="toctext">Legacy</span></a>
<ul>
<li class="toclevel-2 tocsection-9"><a href="#Controversy"><span class="tocnumber">3.1</span> <span class="toctext">Controversy</span></a></li>
<li class="toclevel-2 tocsection-10"><a href="#Popular_interest"><span class="tocnumber">3.2</span> <span class="toctext">Popular interest</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-11"><a href="#Collections"><span class="tocnumber">4</span> <span class="toctext">Collections</span></a>
<ul>
<li class="toclevel-2 tocsection-12"><a href="#England"><span class="tocnumber">4.1</span> <span class="toctext">England</span></a></li>
<li class="toclevel-2 tocsection-13"><a href="#Canada"><span class="tocnumber">4.2</span> <span class="toctext">Canada</span></a></li>
<li class="toclevel-2 tocsection-14"><a href="#United_States"><span class="tocnumber">4.3</span> <span class="toctext">United States</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-15"><a href="#Recognition"><span class="tocnumber">5</span> <span class="toctext">Recognition</span></a></li>
<li class="toclevel-1 tocsection-16"><a href="#Art_market"><span class="tocnumber">6</span> <span class="toctext">Art market</span></a></li>
<li class="toclevel-1 tocsection-17"><a href="#Gallery"><span class="tocnumber">7</span> <span class="toctext">Gallery</span></a></li>
<li class="toclevel-1 tocsection-18"><a href="#See_also"><span class="tocnumber">8</span> <span class="toctext">See also</span></a></li>
<li class="toclevel-1 tocsection-19"><a href="#References"><span class="tocnumber">9</span> <span class="toctext">References</span></a></li>
<li class="toclevel-1 tocsection-20"><a href="#Works_cited"><span class="tocnumber">10</span> <span class="toctext">Works cited</span></a></li>
<li class="toclevel-1 tocsection-21"><a href="#Further_reading"><span class="tocnumber">11</span> <span class="toctext">Further reading</span></a></li>
<li class="toclevel-1 tocsection-22"><a href="#External_links"><span class="tocnumber">12</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="Life">Life</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=1"title="Edit section: Life"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<h3><span class="mw-headline" id="Early_life">Early life</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=2"title="Edit section: Early life"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>Moore was born in <a href="/info/en/?search=Castleford" title="Castleford">Castleford</a>, <a href="/info/en/?search=West_Riding_of_Yorkshire" title="West Riding of Yorkshire">West Riding of Yorkshire</a>, 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 <a href="/info/en/?search=Coal_mining" title="Coal mining">colliery</a> in Castleford. He was an <a href="/info/en/?search=Autodidacticism" title="Autodidacticism">autodidact</a> 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.<sup id="cite_ref-G15_1-0" class="reference"><a href="#cite_note-G15-1">[1]</a></sup> 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 <a href="/info/en/?search=Modelling_clay" title="Modelling clay">modelling in clay</a> and <a href="/info/en/?search=Wood_carving" title="Wood carving">carving in wood</a>. He professed to have decided to become a sculptor when he was eleven after hearing of <a href="/info/en/?search=Michelangelo" title="Michelangelo">Michelangelo</a>'s achievements at a Sunday School reading.<sup id="cite_ref-HMF-website-bio-childhood_2-0" class="reference"><a href="#cite_note-HMF-website-bio-childhood-2">[2]</a></sup>
</p><p>On his second attempt he was accepted at <a href="/info/en/?search=Castleford_Academy" title="Castleford Academy">Castleford Secondary School</a>, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in <a href="/info/en/?search=Gothic_art" title="Gothic art">medieval sculpture</a>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3">[3]</a></sup> 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.<sup id="cite_ref-Berthoud-19_4-0" class="reference"><a href="#cite_note-Berthoud-19-4">[4]</a></sup> 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.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5">[5]</a></sup>
</p><p>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.<sup id="cite_ref-Berthoud-19_4-1" class="reference"><a href="#cite_note-Berthoud-19-4">[4]</a></sup> Upon turning eighteen, Moore volunteered for army service in the <a href="/info/en/?search=World_War_I" title="World War I">First World War</a>. He was the youngest man in the <a href="/info/en/?search=Prince_of_Wales%27_Own_Civil_Service_Rifles" title="Prince of Wales' Own Civil Service Rifles">Prince of Wales' Own Civil Service Rifles</a> regiment and was injured in 1917 in a <a href="/info/en/?search=Chemical_warfare" title="Chemical warfare">gas attack</a>, on 30 November at <a href="/info/en/?search=Bourlon" title="Bourlon">Bourlon</a> Wood,<sup id="cite_ref-6" class="reference"><a href="#cite_note-6">[6]</a></sup> during the <a href="/info/en/?search=Battle_of_Cambrai_(1917)" title="Battle of Cambrai (1917)">Battle of Cambrai</a>.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7">[7]</a></sup> After recovering in hospital, he saw out the remainder of the war as a <a href="/info/en/?search=Physical_fitness" title="Physical fitness">physical training</a> instructor, only returning to France as <a href="/info/en/?search=Armistice_of_11_November_1918" title="Armistice of 11 November 1918">the Armistice</a> was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."<sup id="cite_ref-8" class="reference"><a href="#cite_note-8">[8]</a></sup> 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 <i>anti-life</i>. And I still have that feeling."<sup id="cite_ref-9" class="reference"><a href="#cite_note-9">[9]</a></sup>
</p>
<h3><span class="mw-headline" id="Beginnings_as_a_sculptor">Beginnings as a sculptor</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=3"title="Edit section: Beginnings as a sculptor"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<style data-mw-deduplicate="TemplateStyles:r1096954695/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:204px;max-width:204px"><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage"><span typeof="mw:File"><a href="/info/en/?search=File:Chac_Mool1.jpg" class="mw-file-description"><img alt="black and white photograph of a stone carving of a human figure lying down with its knees bent and head turned" src="https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Chac_Mool1.jpg/200px-Chac_Mool1.jpg" decoding="async" width="200" height="125" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Chac_Mool1.jpg/300px-Chac_Mool1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Chac_Mool1.jpg/400px-Chac_Mool1.jpg 2x" data-file-width="584" data-file-height="364" /></a></span></div></div></div><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage"><span typeof="mw:File"><a href="/info/en/?search=File:Moore_Reclining_Woman_Ottawa_2015.JPG" class="mw-file-description"><img alt="female figure carved out of green stone, lying with bent knees and turned head" src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Moore_Reclining_Woman_Ottawa_2015.JPG/200px-Moore_Reclining_Woman_Ottawa_2015.JPG" decoding="async" width="200" height="150" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Moore_Reclining_Woman_Ottawa_2015.JPG/300px-Moore_Reclining_Woman_Ottawa_2015.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/37/Moore_Reclining_Woman_Ottawa_2015.JPG/400px-Moore_Reclining_Woman_Ottawa_2015.JPG 2x" data-file-width="3072" data-file-height="2304" /></a></span></div></div></div><div class="trow" style="display:flex"><div class="thumbcaption">Moore's reclining figures, such as the 1930 <i>Reclining Woman</i> (bottom), were influenced by <a href="/info/en/?search=Chac_Mool" class="mw-redirect" title="Chac Mool">Chac Mool</a> figures, such as this one (top) from <a href="/info/en/?search=Chichen_Itza" title="Chichen Itza">Chichen Itza</a>.</div></div></div></div>
<p>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 <a href="/info/en/?search=Leeds_Arts_University" title="Leeds Arts University">Leeds Arts University</a>), which set up a sculpture studio especially for him. At the college, he met <a href="/info/en/?search=Barbara_Hepworth" title="Barbara Hepworth">Barbara Hepworth</a>, 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 <a href="/info/en/?search=Michael_Ernest_Sadler" class="mw-redirect" title="Michael Ernest Sadler">Michael Sadler</a>, the university <a href="/info/en/?search=Vice-Chancellor" class="mw-redirect" title="Vice-Chancellor">Vice-Chancellor</a>, which had a pronounced effect on his development.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10">[10]</a></sup> In 1921, Moore won a scholarship to study at the <a href="/info/en/?search=Royal_College_of_Art" title="Royal College of Art">Royal College of Art</a> in London, along with Hepworth and other Yorkshire contemporaries.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11">[11]</a></sup> While in London, Moore extended his knowledge of <a href="/info/en/?search=Primitivism" title="Primitivism">primitive art</a> and sculpture, studying the <a href="/info/en/?search=Ethnographic" class="mw-redirect" title="Ethnographic">ethnographic</a> collections at the <a href="/info/en/?search=British_Museum" title="British Museum">British Museum</a>.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12">[12]</a></sup>
</p><p>The student sculptures of both Moore and Hepworth followed the standard romantic <a href="/info/en/?search=Victorian_decorative_arts" title="Victorian decorative arts">Victorian</a> 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 <a href="/info/en/?search=Constantin_Br%C3%A2ncu%C8%99i" title="Constantin Brâncuși">Constantin Brâncuși</a>, <a href="/info/en/?search=Jacob_Epstein" title="Jacob Epstein">Jacob Epstein</a>, <a href="/info/en/?search=Henri_Gaudier-Brzeska" title="Henri Gaudier-Brzeska">Henri Gaudier-Brzeska</a> and <a href="/info/en/?search=Frank_Dobson_(sculptor)" title="Frank Dobson (sculptor)">Frank Dobson</a> led him to the method of <a href="/info/en/?search=Glossary_of_sculpting" title="Glossary of sculpting">direct carving</a>, 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 <a href="/info/en/?search=Francis_Derwent_Wood" title="Francis Derwent Wood">Derwent Wood</a> (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble <a href="/info/en/?search=Relief" title="Relief">relief</a> of <a href="/info/en/?search=Domenico_Rosselli" title="Domenico Rosselli">Domenico Rosselli</a>'s <i>The Virgin and Child</i><sup id="cite_ref-13" class="reference"><a href="#cite_note-13">[13]</a></sup> by first modelling the relief in <a href="/info/en/?search=Plaster" title="Plaster">plaster</a>, then reproducing it in marble using the mechanical aid known as a "<a href="/info/en/?search=Pointing_machine" title="Pointing machine">pointing machine</a>", 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.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14">[14]</a></sup>
</p><p>In 1924, Moore won a six-month travelling scholarship which he spent in <a href="/info/en/?search=Northern_Italy" title="Northern Italy">Northern Italy</a> studying the great works of <a href="/info/en/?search=Michelangelo" title="Michelangelo">Michelangelo</a>, <a href="/info/en/?search=Giotto_di_Bondone" class="mw-redirect" title="Giotto di Bondone">Giotto di Bondone</a>, <a href="/info/en/?search=Giovanni_Pisano" title="Giovanni Pisano">Giovanni Pisano</a> and several other <a href="/info/en/?search=Old_Masters" class="mw-redirect" title="Old Masters">Old Masters</a>. During this period he also visited Paris, took advantage of the timed-sketching classes at the <a href="/info/en/?search=Acad%C3%A9mie_Colarossi" title="Académie Colarossi">Académie Colarossi</a>, and viewed, in the <a href="/info/en/?search=Trocad%C3%A9ro#The_old_Palais_du_Trocadéro" title="Trocadéro">Trocadero</a>, a plaster cast of a <a href="/info/en/?search=Toltec" title="Toltec">Toltec</a>-<a href="/info/en/?search=Maya_civilisation" class="mw-redirect" title="Maya civilisation">Maya</a> sculptural form, the <a href="/info/en/?search=Chac_Mool" class="mw-redirect" title="Chac Mool">Chac Mool</a>, 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.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15">[15]</a></sup>
</p>
<h3><span class="mw-headline" id="Hampstead">Hampstead</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=4"title="Edit section: Hampstead"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>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, <i>West Wind</i> (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of <a href="/info/en/?search=London_Underground" title="London Underground">London Underground</a>'s headquarters at <a href="/info/en/?search=55_Broadway,_London" class="mw-redirect" title="55 Broadway, London">55 Broadway</a>.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16">[16]</a></sup> The other 'winds' were carved by contemporary sculptors including <a href="/info/en/?search=Eric_Gill" title="Eric Gill">Eric Gill</a> with the ground-level pieces provided by <a href="/info/en/?search=Jacob_Epstein" title="Jacob Epstein">Epstein</a>. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17">[17]</a></sup> On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18">[18]</a></sup> Irina was born in <a href="/info/en/?search=Kyiv" title="Kyiv">Kyiv</a> in 1907. Her father was killed in the <a href="/info/en/?search=Russian_Revolution_of_1917" class="mw-redirect" title="Russian Revolution of 1917">Russian Revolution</a> 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 <a href="/info/en/?search=Buckinghamshire" title="Buckinghamshire">Buckinghamshire</a>.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19">[19]</a></sup>
</p>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:HenryMoore_WestWind.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/HenryMoore_WestWind.jpg/220px-HenryMoore_WestWind.jpg" decoding="async" width="220" height="172" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/HenryMoore_WestWind.jpg/330px-HenryMoore_WestWind.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f4/HenryMoore_WestWind.jpg/440px-HenryMoore_WestWind.jpg 2x" data-file-width="648" data-file-height="507" /></a><figcaption><i>West Wind</i>, 1928–29; Moore's first public commission was carved from <a href="/info/en/?search=Portland_stone" title="Portland stone">Portland stone</a> and shows the influence of <a href="/info/en/?search=Michelangelo" title="Michelangelo">Michelangelo</a>'s figures for the <a href="/info/en/?search=Medici_Chapel_(Michelangelo)" class="mw-redirect" title="Medici Chapel (Michelangelo)">Medici Chapel</a> and the <a href="/info/en/?search=Chac_Mool" class="mw-redirect" title="Chac Mool">Chac Mool</a> figure.</figcaption></figure>
<p>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 <a href="/info/en/?search=Hampstead" title="Hampstead">Hampstead</a> at 11a Parkhill Road NW3, joining a small colony of <a href="/info/en/?search=Avant-garde" title="Avant-garde">avant-garde</a> artists who were taking root there. Shortly afterward, Hepworth and her second husband <a href="/info/en/?search=Ben_Nicholson" title="Ben Nicholson">Ben Nicholson</a> moved into a studio around the corner from Moore, while <a href="/info/en/?search=Naum_Gabo" title="Naum Gabo">Naum Gabo</a>, <a href="/info/en/?search=Roland_Penrose" title="Roland Penrose">Roland Penrose</a>, <a href="/info/en/?search=Cecil_Stephenson" title="Cecil Stephenson">Cecil Stephenson</a> and the art critic <a href="/info/en/?search=Herbert_Read" title="Herbert Read">Herbert Read</a> also lived in the area (Read referred to the area as "a nest of gentle artists").<sup id="cite_ref-20" class="reference"><a href="#cite_note-20">[20]</a></sup> The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21">[21]</a></sup>
</p><p>In 1932, after six years teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the <a href="/info/en/?search=Chelsea_School_of_Art" class="mw-redirect" title="Chelsea School of Art">Chelsea School of Art</a>.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22">[22]</a></sup> Artistically, Moore, Hepworth and other members of The <a href="/info/en/?search=Seven_and_Five_Society" title="Seven and Five Society">Seven and Five Society</a> would develop steadily more abstract work,<sup id="cite_ref-23" class="reference"><a href="#cite_note-23">[23]</a></sup> partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably <a href="/info/en/?search=Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, <a href="/info/en/?search=Georges_Braque" title="Georges Braque">Georges Braque</a>, <a href="/info/en/?search=Jean_Arp" title="Jean Arp">Jean Arp</a> and <a href="/info/en/?search=Alberto_Giacometti" title="Alberto Giacometti">Alberto Giacometti</a>. Moore flirted with <a href="/info/en/?search=Surrealism" title="Surrealism">Surrealism</a>, joining <a href="/info/en/?search=Paul_Nash_(artist)" title="Paul Nash (artist)">Paul Nash</a>'s <a href="/info/en/?search=Modern_art" title="Modern art">modern art</a> movement "<a href="/info/en/?search=Unit_One" title="Unit One">Unit One</a>", in 1933. In 1934, Moore visited Spain; he visited the <a href="/info/en/?search=Cave_of_Altamira" title="Cave of Altamira">cave of Altamira</a> (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24">[24]</a></sup>
</p><p>In 1936, Moore joined a group of surrealist artists founded by <a href="/info/en/?search=Roland_Penrose" title="Roland Penrose">Roland Penrose</a>, and the same year was honorary treasurer to the organising committee of the <a href="/info/en/?search=London_International_Surrealist_Exhibition" title="London International Surrealist Exhibition">London International Surrealist Exhibition</a>.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25">[25]</a></sup> In 1937, <a href="/info/en/?search=Roland_Penrose" title="Roland Penrose">Roland Penrose</a> 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 <a href="/info/en/?search=Maquette" title="Maquette">maquettes</a> in clay or plaster rather than making preparatory drawings.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2019)">citation needed</span></a></i>]</sup>
</p><p>In 1938, Moore met <a href="/info/en/?search=Kenneth_Clark" title="Kenneth Clark">Kenneth Clark</a> for the first time.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26">[26]</a></sup> From this time, Clark became an unlikely but influential champion of Moore's work,<sup id="cite_ref-27" class="reference"><a href="#cite_note-27">[27]</a></sup> and through his position as member of the <a href="/info/en/?search=Arts_Council_of_Great_Britain" title="Arts Council of Great Britain">Arts Council of Great Britain</a> he secured exhibitions and commissions for the artist.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28">[28]</a></sup>
</p>
<h3><span class="mw-headline" id="Second_World_War">Second World War</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=5"title="Edit section: Second World War"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Women_and_Children_in_the_Tube_(1940)_(Art.IWM_ART_LD_759).jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg/220px-Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg" decoding="async" width="220" height="162" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg/330px-Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg/440px-Women_and_Children_in_the_Tube_%281940%29_%28Art.IWM_ART_LD_759%29.jpg 2x" data-file-width="800" data-file-height="590" /></a><figcaption><i>Women and Children in the Tube</i> (1940) (Art.IWM ART LD 759)</figcaption></figure>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:At_the_Coal_Face._A_Miner_Pushing_a_Tub_(1942)_(Art.IWM_ART_LD_2240).jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c6/At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg/220px-At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg" decoding="async" width="220" height="111" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c6/At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg/330px-At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c6/At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg/440px-At_the_Coal_Face._A_Miner_Pushing_a_Tub_%281942%29_%28Art.IWM_ART_LD_2240%29.jpg 2x" data-file-width="800" data-file-height="405" /></a><figcaption><i>At the Coal Face. A Miner Pushing a Tub</i> (1942) (Art.IWM ART LD 2240)</figcaption></figure>
<p>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 <a href="/info/en/?search=The_Blitz" title="The Blitz">the Blitz</a>.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29">[29]</a></sup> <a href="/info/en/?search=Kenneth_Clark" title="Kenneth Clark">Kenneth Clark</a>, the chairman of the <a href="/info/en/?search=War_Artists%27_Advisory_Committee" title="War Artists' Advisory Committee">War Artists' Advisory Committee</a> (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.<sup id="cite_ref-Foss_30-0" class="reference"><a href="#cite_note-Foss-30">[30]</a></sup> 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.<sup id="cite_ref-WW2Art_31-0" class="reference"><a href="#cite_note-WW2Art-31">[31]</a></sup> 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'.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32">[32]</a></sup> Moore's drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC <i>Britain at War</i> exhibition which toured North America throughout the war.<sup id="cite_ref-Foss_30-1" class="reference"><a href="#cite_note-Foss-30">[30]</a></sup>
</p><p>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 <a href="/info/en/?search=Perry_Green,_Hertfordshire" title="Perry Green, Hertfordshire">Perry Green</a> near <a href="/info/en/?search=Much_Hadham" title="Much Hadham">Much Hadham</a>, <a href="/info/en/?search=Hertfordshire" title="Hertfordshire">Hertfordshire</a>.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33">[33]</a></sup> 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 <a href="/info/en/?search=St_Matthew%27s_Church,_Northampton" title="St Matthew's Church, Northampton">St Matthew's Church, Northampton</a>, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.<sup id="cite_ref-Henry_Moore_34-0" class="reference"><a href="#cite_note-Henry_Moore-34">[34]</a></sup>
</p>
<h3><span class="mw-headline" id="Later_years">Later years</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=6"title="Edit section: Later years"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Henry_Moore,_Family_Group_(1950).jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/Henry_Moore%2C_Family_Group_%281950%29.jpg/220px-Henry_Moore%2C_Family_Group_%281950%29.jpg" decoding="async" width="220" height="333" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/Henry_Moore%2C_Family_Group_%281950%29.jpg/330px-Henry_Moore%2C_Family_Group_%281950%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Henry_Moore%2C_Family_Group_%281950%29.jpg/440px-Henry_Moore%2C_Family_Group_%281950%29.jpg 2x" data-file-width="856" data-file-height="1295" /></a><figcaption><i><a href="/info/en/?search=Family_Group_(Moore)" title="Family Group (Moore)">Family Group</a></i> (1950) bronze, <a href="/info/en/?search=The_Barclay_School" class="mw-redirect" title="The Barclay School">Barclay School</a>, <a href="/info/en/?search=Stevenage" title="Stevenage">Stevenage</a>, <a href="/info/en/?search=Hertfordshire,_England" class="mw-redirect" title="Hertfordshire, England">Hertfordshire</a>. Moore's first large-scale commission after the Second World War.</figcaption></figure>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Shahbanu_Farah,_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png/220px-Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png" decoding="async" width="220" height="167" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png/330px-Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png/440px-Shahbanu_Farah%2C_Opening_ceremony_of_Henry_Moore_Gallery_in_Tehran.png 2x" data-file-width="621" data-file-height="471" /></a><figcaption><a href="/info/en/?search=Farah_Pahlavi" title="Farah Pahlavi">Shahbanu Farah</a> in Henry Moore's Gallery, Tehran, May 1971.</figcaption></figure>
<p>After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35">[35]</a></sup> 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 <a href="/info/en/?search=Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a> in New York City.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36">[36]</a></sup>
</p><p>Before the war, Moore had been approached by educator <a href="/info/en/?search=Henry_Morris_(education)" title="Henry Morris (education)">Henry Morris</a>, who was trying to reform education with his concept of the <a href="/info/en/?search=Village_College" class="mw-redirect" title="Village College">Village College</a>. Morris had engaged <a href="/info/en/?search=Walter_Gropius" title="Walter Gropius">Walter Gropius</a> as the architect for his second village college at <a href="/info/en/?search=Impington_Village_College" title="Impington Village College">Impington</a> near <a href="/info/en/?search=Cambridge" title="Cambridge">Cambridge</a>, 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.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37">[37]</a></sup> Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of <a href="/info/en/?search=Stevenage" title="Stevenage">Stevenage</a>. This time, the project was completed and <i><a href="/info/en/?search=Family_Group_(Moore)" title="Family Group (Moore)">Family Group</a></i> became Moore's first large-scale public bronze.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38">[38]</a></sup>
</p>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:UNESCO_History,_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff/lossy-page1-220px-UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff.jpg" decoding="async" width="220" height="307" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff/lossy-page1-330px-UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2e/UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff/lossy-page1-440px-UNESCO_History%2C_Moving_Henry_Moore_sculpture_-_UNESCO_-_PHOTO0000002731_0001.tiff.jpg 2x" data-file-width="4126" data-file-height="5751" /></a><figcaption>The UNESCO piece being moved, in 1963, to allow for building work</figcaption></figure>
<p>In the 1950s, Moore began to receive increasingly significant commissions. He exhibited <a href="/info/en/?search=Reclining_Figure:_Festival" title="Reclining Figure: Festival">Reclining Figure: Festival</a> at the <a href="/info/en/?search=Festival_of_Britain" title="Festival of Britain">Festival of Britain</a> in 1951,<sup id="cite_ref-39" class="reference"><a href="#cite_note-39">[39]</a></sup> and in 1958 produced a <a href="/info/en/?search=UNESCO_Reclining_Figure_1957-58" class="mw-redirect" title="UNESCO Reclining Figure 1957-58">large marble reclining figure</a> for the <a href="/info/en/?search=UNESCO" title="UNESCO">UNESCO</a> building in Paris.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40">[40]</a></sup> 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 <a href="/info/en/?search=Anthony_Caro" title="Anthony Caro">Anthony Caro</a><sup id="cite_ref-41" class="reference"><a href="#cite_note-41">[41]</a></sup> <a href="/info/en/?search=Roland_Pich%C3%A9" title="Roland Piché">Roland Piché</a><sup id="cite_ref-42" class="reference"><a href="#cite_note-42">[42]</a></sup> and <a href="/info/en/?search=Richard_Wentworth_(artist)" title="Richard Wentworth (artist)">Richard Wentworth</a>.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43">[43]</a></sup>
</p><p>On the campus of the <a href="/info/en/?search=University_of_Chicago" title="University of Chicago">University of Chicago</a> in December 1967, 25 years to the minute<sup id="cite_ref-44" class="reference"><a href="#cite_note-44">[44]</a></sup> after the team of physicists led by <a href="/info/en/?search=Enrico_Fermi" title="Enrico Fermi">Enrico Fermi</a> achieved the first controlled, self-sustaining nuclear chain reaction, Moore's <i><a href="/info/en/?search=Nuclear_Energy_(sculpture)" title="Nuclear Energy (sculpture)">Nuclear Energy</a></i> was unveiled on the site of what was once the university's football field stands, in the <a href="/info/en/?search=Rackets_(sport)" title="Rackets (sport)">rackets court</a> beneath which the experiments had taken place.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45">[45]</a></sup> This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a <a href="/info/en/?search=Mushroom_cloud" title="Mushroom cloud">mushroom cloud</a> 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."<sup id="cite_ref-46" class="reference"><a href="#cite_note-46">[46]</a></sup> In <a href="/info/en/?search=Chicago,_Illinois" class="mw-redirect" title="Chicago, Illinois">Chicago, Illinois</a>, Moore also commemorated science with a large bronze sundial, locally named <i><a href="/info/en/?search=Man_Enters_the_Cosmos" title="Man Enters the Cosmos">Man Enters the Cosmos</a></i> (1980), which was commissioned to recognise the <a href="/info/en/?search=Space_exploration" title="Space exploration">space exploration</a> program.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47">[47]</a></sup>
</p>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Henry_Moore_Allan_Warren.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Henry_Moore_Allan_Warren.jpg/220px-Henry_Moore_Allan_Warren.jpg" decoding="async" width="220" height="245" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Henry_Moore_Allan_Warren.jpg/330px-Henry_Moore_Allan_Warren.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Henry_Moore_Allan_Warren.jpg/440px-Henry_Moore_Allan_Warren.jpg 2x" data-file-width="4550" data-file-height="5075" /></a><figcaption>Moore in his studio in England (1975), by <a href="/info/en/?search=Allan_Warren" title="Allan Warren">Allan Warren</a></figcaption></figure>
<p>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 <a href="/info/en/?search=Belvedere_(fort)" title="Belvedere (fort)">Forte di Belvedere</a> overlooking <a href="/info/en/?search=Florence" title="Florence">Florence</a>. 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 <a href="/info/en/?search=Warren_Forma" title="Warren Forma">Warren Forma</a>. 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 <i><a href="/info/en/?search=Knife_Edge_Two_Piece_1962%E2%80%9365" title="Knife Edge Two Piece 1962–65">Knife Edge Two Piece</a></i> in 1962 for <a href="/info/en/?search=College_Green,_London" title="College Green, London">College Green</a> near the <a href="/info/en/?search=Palace_of_Westminster" title="Palace of Westminster">Houses of Parliament</a> in London. According to Moore, "When I was offered the site near the <a href="/info/en/?search=House_of_Lords" title="House of Lords">House of Lords</a> ... I liked the place so much that I didn't bother to go and see an alternative site in <a href="/info/en/?search=Hyde_Park,_London" title="Hyde Park, London">Hyde Park</a>—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."<sup id="cite_ref-48" class="reference"><a href="#cite_note-48">[48]</a></sup>
</p><p>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 <a href="/info/en/?search=Inheritance_Tax_(United_Kingdom)" class="mw-redirect" title="Inheritance Tax (United Kingdom)">death duties</a>. By 1977, he was paying close to a million pounds a year in <a href="/info/en/?search=Income_tax" title="Income tax">income tax</a>; to mitigate his tax burden, he established the <a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a> 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 <a href="/info/en/?search=Perry_Green,_Hertfordshire" title="Perry Green, Hertfordshire">Perry Green</a>, with a gallery, sculpture park and studios.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49">[49]</a></sup>
</p><p>In 1979, Henry Moore became unexpectedly known in Germany when his sculpture <i>Large Two Forms</i> was installed in the forecourt of the <a href="/info/en/?search=Federal_Chancellery_(Bonn)" title="Federal Chancellery (Bonn)">German Chancellery</a> in Bonn, which was the capital city of <a href="/info/en/?search=West_Germany" title="West Germany">West Germany</a> prior to German reunification in October 1990.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50">[50]</a></sup>
</p><p>Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51">[51]</a></sup>
</p>
<figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Henry-moore-ago.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Henry-moore-ago.jpg/700px-Henry-moore-ago.jpg" decoding="async" width="700" height="114" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Henry-moore-ago.jpg/1050px-Henry-moore-ago.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/3/39/Henry-moore-ago.jpg 2x" data-file-width="1245" data-file-height="202" /></a><figcaption>The <a href="/info/en/?search=Art_Gallery_of_Ontario" title="Art Gallery of Ontario">Art Gallery of Ontario</a>'s Henry Moore collection is the largest public collection of his works in the world</figcaption></figure><p>.
</p><h2><span class="mw-headline" id="Style">Style</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=7"title="Edit section: Style"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Stuttgart-henry-moore-liegende.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Stuttgart-henry-moore-liegende.jpg/220px-Stuttgart-henry-moore-liegende.jpg" decoding="async" width="220" height="243" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Stuttgart-henry-moore-liegende.jpg/330px-Stuttgart-henry-moore-liegende.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/Stuttgart-henry-moore-liegende.jpg/440px-Stuttgart-henry-moore-liegende.jpg 2x" data-file-width="700" data-file-height="774" /></a><figcaption>Moore's bronze <i><a href="/info/en/?search=Draped_Reclining_Woman_1957%E2%80%9358" title="Draped Reclining Woman 1957–58">Draped Reclining Woman 1957–58</a></i> ("Die Liegende") in <a href="/info/en/?search=Stuttgart" title="Stuttgart">Stuttgart</a>, typical of his early reclining figures</figcaption></figure>
<p>Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2019)">citation needed</span></a></i>]</sup>
</p><p>
Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with <a href="/info/en/?search=Barbara_Hepworth" title="Barbara Hepworth">Barbara Hepworth</a>'s sculptures.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52">[52]</a></sup> Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (November 2022)">citation needed</span></a></i>]</sup> The plaster <i><a href="/info/en/?search=Reclining_Figure:_Festival" title="Reclining Figure: Festival">Reclining Figure: Festival</a></i> (1951) in the <a href="/info/en/?search=Tate" title="Tate">Tate</a>, is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (November 2022)">citation needed</span></a></i>]</sup> When Moore's niece asked why his sculptures had such simple titles, he replied, </p><blockquote><p>All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53">[53]</a></sup></p></blockquote>
<p>Moore's early work is focused on <a href="/info/en/?search=Glossary_of_sculpting#direct_carving" title="Glossary of sculpting">direct carving</a>, in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into <a href="/info/en/?search=Modernism" title="Modernism">modernism</a> paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory <a href="/info/en/?search=Sketch_(drawing)" title="Sketch (drawing)">sketches</a> and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54">[54]</a></sup>
</p>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Rotterdam_kunstwerk_Wall_Relief_no.1.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Rotterdam_kunstwerk_Wall_Relief_no.1.jpg/300px-Rotterdam_kunstwerk_Wall_Relief_no.1.jpg" decoding="async" width="300" height="153" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Rotterdam_kunstwerk_Wall_Relief_no.1.jpg/450px-Rotterdam_kunstwerk_Wall_Relief_no.1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Rotterdam_kunstwerk_Wall_Relief_no.1.jpg/600px-Rotterdam_kunstwerk_Wall_Relief_no.1.jpg 2x" data-file-width="2805" data-file-height="1429" /></a><figcaption><i>Wall Relief No. 1</i>, (1955), Bouwcentrum, <a href="/info/en/?search=Rotterdam" title="Rotterdam">Rotterdam</a></figcaption></figure>
<p>After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the <a href="/info/en/?search=Lost-wax_casting" title="Lost-wax casting">lost wax</a> technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body.
At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final <a href="/info/en/?search=Molding_(process)" title="Molding (process)">moulding</a> and <a href="/info/en/?search=Casting" title="Casting">casting</a> at a bronze <a href="/info/en/?search=Foundry" title="Foundry">foundry</a>. Moore often refined the final full plaster shape and added surface marks before casting.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2019)">citation needed</span></a></i>]</sup>
</p><p>Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for <i>West Wind</i> for the <a href="/info/en/?search=London_Underground" title="London Underground">London Underground</a> Building at <a href="/info/en/?search=55_Broadway" title="55 Broadway">55 Broadway</a> in London, joining the company of <a href="/info/en/?search=Jacob_Epstein" title="Jacob Epstein">Jacob Epstein</a> and <a href="/info/en/?search=Eric_Gill" title="Eric Gill">Eric Gill</a>.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55">[55]</a></sup> In 1953, he completed a four-part screen carved in <a href="/info/en/?search=Portland_stone" title="Portland stone">Portland stone</a> for the Time-Life Building in New Bond Street, London,<sup id="cite_ref-56" class="reference"><a href="#cite_note-56">[56]</a></sup> and in 1955 Moore turned to his first and only work in carved brick, <i>Wall Relief</i> at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57">[57]</a></sup>
</p>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:HenryMoore_RecliningFigure_1951.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/HenryMoore_RecliningFigure_1951.jpg/220px-HenryMoore_RecliningFigure_1951.jpg" decoding="async" width="220" height="120" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/HenryMoore_RecliningFigure_1951.jpg/330px-HenryMoore_RecliningFigure_1951.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e1/HenryMoore_RecliningFigure_1951.jpg/440px-HenryMoore_RecliningFigure_1951.jpg 2x" data-file-width="1176" data-file-height="640" /></a><figcaption><i><a href="/info/en/?search=Large_Reclining_Figure" class="mw-redirect" title="Large Reclining Figure">Large Reclining Figure</a></i> (1984, based on a smaller model of 1938), <a href="/info/en/?search=Fitzwilliam_Museum,_Cambridge" class="mw-redirect" title="Fitzwilliam Museum, Cambridge">Fitzwilliam Museum, Cambridge</a></figcaption></figure>
<p>The aftermath of the <a href="/info/en/?search=Second_World_War" class="mw-redirect" title="Second World War">Second World War</a>, <a href="/info/en/?search=The_Holocaust" title="The Holocaust">The Holocaust</a>, and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as <a href="/info/en/?search=Jean-Paul_Sartre" title="Jean-Paul Sartre">Jean-Paul Sartre</a> advocated a similar reductive philosophy.<sup id="cite_ref-C34_58-0" class="reference"><a href="#cite_note-C34-58">[58]</a></sup> At an introductory speech in New York City for an exhibition of one of the finest <a href="/info/en/?search=Modernism" title="Modernism">modernist</a> sculptors, <a href="/info/en/?search=Alberto_Giacometti" title="Alberto Giacometti">Alberto Giacometti</a>, Sartre spoke of "The beginning and the end of history".<sup id="cite_ref-59" class="reference"><a href="#cite_note-59">[59]</a></sup> Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.<sup id="cite_ref-C34_58-1" class="reference"><a href="#cite_note-C34-58">[58]</a></sup>
</p>
<h2><span class="mw-headline" id="Legacy">Legacy</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=8"title="Edit section: Legacy"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Caro_DreamCity_1996.jpg" class="mw-file-description"><img alt="Abstract sculpture made of rusting steel" src="https://upload.wikimedia.org/wikipedia/commons/thumb/0/07/Caro_DreamCity_1996.jpg/220px-Caro_DreamCity_1996.jpg" decoding="async" width="220" height="140" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/0/07/Caro_DreamCity_1996.jpg/330px-Caro_DreamCity_1996.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/07/Caro_DreamCity_1996.jpg/440px-Caro_DreamCity_1996.jpg 2x" data-file-width="640" data-file-height="406" /></a><figcaption><i>Dream City</i> by Anthony Caro, (1996), rusting steel, at the <a href="/info/en/?search=Yorkshire_Sculpture_Park" title="Yorkshire Sculpture Park">Yorkshire Sculpture Park</a>.</figcaption></figure>
<p>Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 <a href="/info/en/?search=Venice_Biennale" title="Venice Biennale">Venice Biennale</a>, eight new British sculptors produced their <i><a href="/info/en/?search=Geometry_of_Fear" title="Geometry of Fear">Geometry of Fear</a></i> works as a direct contrast to the ideals behind Moore's idea of <i>Endurance, Continuity</i>;<sup id="cite_ref-60" class="reference"><a href="#cite_note-60">[60]</a></sup> his large bronze <i>Double Standing Figure</i> stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.<sup id="cite_ref-arts_61-0" class="reference"><a href="#cite_note-arts-61">[61]</a></sup>
</p><p>Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are <a href="/info/en/?search=Sir_Anthony_Caro" class="mw-redirect" title="Sir Anthony Caro">Sir Anthony Caro</a>,<sup id="cite_ref-62" class="reference"><a href="#cite_note-62">[62]</a></sup> <a href="/info/en/?search=Phillip_King_(artist)" class="mw-redirect" title="Phillip King (artist)">Phillip King</a><sup id="cite_ref-63" class="reference"><a href="#cite_note-63">[63]</a></sup> and <a href="/info/en/?search=Isaac_Witkin" title="Isaac Witkin">Isaac Witkin</a>,<sup id="cite_ref-64" class="reference"><a href="#cite_note-64">[64]</a></sup> all three having been assistants to Moore. Other artists whose work was influenced by him include <a href="/info/en/?search=Helaine_Blumenfeld" title="Helaine Blumenfeld">Helaine Blumenfeld</a>, <a href="/info/en/?search=Drago_Marin_Cherina" title="Drago Marin Cherina">Drago Marin Cherina</a>, <a href="/info/en/?search=Lynn_Chadwick" title="Lynn Chadwick">Lynn Chadwick</a>, <a href="/info/en/?search=Eduardo_Paolozzi" title="Eduardo Paolozzi">Eduardo Paolozzi</a>, <a href="/info/en/?search=Bernard_Meadows" title="Bernard Meadows">Bernard Meadows</a>, <a href="/info/en/?search=Reg_Butler" title="Reg Butler">Reg Butler</a>, <a href="/info/en/?search=William_Turnbull_(artist)" title="William Turnbull (artist)">William Turnbull</a>, <a href="/info/en/?search=Robert_Adams_(sculptor_and_designer)" class="mw-redirect" title="Robert Adams (sculptor and designer)">Robert Adams</a>, <a href="/info/en/?search=Kenneth_Armitage" title="Kenneth Armitage">Kenneth Armitage</a>, and Geoffrey Clarke.<sup id="cite_ref-:1_65-0" class="reference"><a href="#cite_note-:1-65">[65]</a></sup>
</p><p><b>Henry Moore Foundation</b> helps to preserve his legacy by supporting sculptors and creating exhibitions, its goal is to develop appreciation for visual arts. The Foundation was established by Henry and his family in 1977 in England, and still working.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66">[66]</a></sup>
</p>
<h3><span class="mw-headline" id="Controversy">Controversy</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=9"title="Edit section: Controversy"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>In December 2005, the two ton <i>Reclining Figure</i> (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.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67">[67]</a></sup> Two men were jailed for a year in 2012 for stealing a sculpture called <i>Sundial</i> (1965) and the bronze plinth of another work, also from the foundation's estate.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68">[68]</a></sup> In October 2013 <i>Standing Figure</i> (1950), one of four Moore pieces in <a href="/info/en/?search=Glenkiln_Sculpture_Park" title="Glenkiln Sculpture Park">Glenkiln Sculpture Park</a>, estimated to be worth £3 million, was stolen.<sup id="cite_ref-standard.co.uk_69-0" class="reference"><a href="#cite_note-standard.co.uk-69">[69]</a></sup><sup id="cite_ref-70" class="reference"><a href="#cite_note-70">[70]</a></sup>
</p>
<figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg/220px-Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg/330px-Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg/440px-Reclining_Figure_at_Yorkshire_Sculpture_Park_-_geograph.org.uk_-_519117.jpg 2x" data-file-width="640" data-file-height="480" /></a><figcaption><i><a href="/info/en/?search=Draped_Seated_Woman_1957%E2%80%9358" title="Draped Seated Woman 1957–58">Draped Seated Woman 1957–58</a></i>, <a href="/info/en/?search=Yorkshire_Sculpture_Park" title="Yorkshire Sculpture Park">Yorkshire Sculpture Park</a></figcaption></figure>
<p>In 2012, the council of the <a href="/info/en/?search=London_Borough_of_Tower_Hamlets" title="London Borough of Tower Hamlets">London Borough of Tower Hamlets</a> announced its plans to sell another version of <i><a href="/info/en/?search=Draped_Seated_Woman_1957%E2%80%9358" title="Draped Seated Woman 1957–58">Draped Seated Woman 1957–58</a></i>, a 1.6-tonne bronze sculpture.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71">[71]</a></sup> Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former <a href="/info/en/?search=London_County_Council" title="London County Council">London County Council</a> 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 <i>Old Flo</i>, it was installed on the Stifford council estate in 1962 but was vandalised and moved to the <a href="/info/en/?search=Yorkshire_Sculpture_Park" title="Yorkshire Sculpture Park">Yorkshire Sculpture Park</a> in 1997. Tower Hamlets Council later had considered moving <i><a href="/info/en/?search=Draped_Seated_Woman" class="mw-redirect" title="Draped Seated Woman">Draped Seated Woman</a></i> to private land in <a href="/info/en/?search=Canary_Wharf" title="Canary Wharf">Canary Wharf</a> but instead chose to "explore options" for a sale.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72">[72]</a></sup> In response to the announcement an open letter was published in <i><a href="/info/en/?search=The_Guardian" title="The Guardian">The Guardian</a></i>, signed by Mary Moore, the artist's daughter, by <a href="/info/en/?search=Sir_Nicholas_Serota" class="mw-redirect" title="Sir Nicholas Serota">Sir Nicholas Serota</a>, Director of the <a href="/info/en/?search=Tate_Gallery" class="mw-redirect" title="Tate Gallery">Tate Gallery</a>, by filmmaker <a href="/info/en/?search=Danny_Boyle" title="Danny Boyle">Danny Boyle</a>, and by artists including <a href="/info/en/?search=Jeremy_Deller" title="Jeremy Deller">Jeremy Deller</a>. The letter said that the sale "goes against the spirit of Henry Moore's original sale" of the work.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73">[73]</a></sup>
</p>
<h3><span class="mw-headline" id="Popular_interest">Popular interest</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=10"title="Edit section: Popular interest"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>Today, the <a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a> 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 <a href="/info/en/?search=Kew_Gardens" title="Kew Gardens">Kew Gardens</a> in 2007, <a href="/info/en/?search=Tate_Britain" title="Tate Britain">Tate Britain</a> in 2010, and <a href="/info/en/?search=Hatfield_House" title="Hatfield House">Hatfield House</a> 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.<sup id="cite_ref-74" class="reference"><a href="#cite_note-74">[74]</a></sup>
</p>
<h2><span class="mw-headline" id="Collections">Collections</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=11"title="Edit section: Collections"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:HenryMooreTorontoCH1.jpg" class="mw-file-description"><img alt="Photograph of a large bronze abstract sculpture, in front of a glass and concrete building." src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/85/HenryMooreTorontoCH1.jpg/220px-HenryMooreTorontoCH1.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/85/HenryMooreTorontoCH1.jpg/330px-HenryMooreTorontoCH1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/85/HenryMooreTorontoCH1.jpg/440px-HenryMooreTorontoCH1.jpg 2x" data-file-width="2048" data-file-height="1536" /></a><figcaption><i>Three Way Piece No. 2 (The Archer),</i> (1964–65) has been on display in front of <a href="/info/en/?search=Toronto_City_Hall" title="Toronto City Hall">Toronto City Hall</a> in <a href="/info/en/?search=Nathan_Phillips_Square" title="Nathan Phillips Square">Nathan Phillips Square</a> since 1966.</figcaption></figure>
<h3><span class="mw-headline" id="England">England</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=12"title="Edit section: England"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>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<span class="nowrap"> </span>years in <a href="/info/en/?search=Perry_Green,_Hertfordshire" title="Perry Green, Hertfordshire">Perry Green</a> in Hertfordshire. The site and the collection are now owned by the <a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a>.<sup id="cite_ref-75" class="reference"><a href="#cite_note-75">[75]</a></sup>
</p><p>In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a cast of Moore's <i><a href="/info/en/?search=Reclining_Figure_1969%E2%80%9370" title="Reclining Figure 1969–70">Reclining Figure 1969–70</a></i> (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 <a href="/info/en/?search=Scrap_metal" class="mw-redirect" title="Scrap metal">scrap metal</a>, fetching about £5,000.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76">[76]</a></sup><sup id="cite_ref-77" class="reference"><a href="#cite_note-77">[77]</a></sup> In July 2012 the 22 inches (56 cm) bronze <i>Sundial 1965</i>, valued at £500,000, was stolen from the Moore Foundation.<sup id="cite_ref-78" class="reference"><a href="#cite_note-78">[78]</a></sup> Later that year, following the details of the theft being publicised on the BBC <a href="/info/en/?search=Crimewatch" title="Crimewatch">Crimewatch</a> television programme, the work was recovered, and the thieves were sentenced to twelve months' custody.<sup id="cite_ref-79" class="reference"><a href="#cite_note-79">[79]</a></sup>
</p><p>Moore presented 36 sculptures, as well as drawings, maquettes and other works to the <a href="/info/en/?search=Tate_Gallery" class="mw-redirect" title="Tate Gallery">Tate Gallery</a> in 1978.<sup id="cite_ref-80" class="reference"><a href="#cite_note-80">[80]</a></sup>
</p>
<h3><span class="mw-headline" id="Canada">Canada</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=13"title="Edit section: Canada"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>The Henry Moore Sculpture Centre in the <a href="/info/en/?search=Art_Gallery_of_Ontario" title="Art Gallery of Ontario">Art Gallery of Ontario</a>, 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 <i><a href="/info/en/?search=Three_Way_Piece_No.2:_Archer" title="Three Way Piece No.2: Archer">Three Way Piece No. 2 (The Archer)</a></i> has also been on display in <a href="/info/en/?search=Nathan_Phillips_Square" title="Nathan Phillips Square">Nathan Phillips Square</a> at <a href="/info/en/?search=Toronto_City_Hall" title="Toronto City Hall">Toronto City Hall</a> since 1966.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81">[81]</a></sup><sup id="cite_ref-82" class="reference"><a href="#cite_note-82">[82]</a></sup>
</p>
<h3><span class="mw-headline" id="United_States">United States</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=14"title="Edit section: United States"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h3>
<p>Works by Moore are in the collections of institutions in 25 states and the District of Columbia.<sup id="cite_ref-83" class="reference"><a href="#cite_note-83">[83]</a></sup>
</p><p>There are eleven large sculptural bronze works by Moore in the grounds of the <a href="/info/en/?search=Nelson-Atkins_Museum_of_Art" title="Nelson-Atkins Museum of Art">Nelson-Atkins Museum of Art</a> in <a href="/info/en/?search=Kansas_City,_Missouri" title="Kansas City, Missouri">Kansas City, Missouri</a>.<sup id="cite_ref-:0_84-0" class="reference"><a href="#cite_note-:0-84">[84]</a></sup><sup id="cite_ref-85" class="reference"><a href="#cite_note-85">[85]</a></sup> There is also a large bronze, the "Seated Woman" of 1957, inside the museum.<sup id="cite_ref-86" class="reference"><a href="#cite_note-86">[86]</a></sup> This is the largest collection of Moore's monumental bronzes in the United States.<sup id="cite_ref-87" class="reference"><a href="#cite_note-87">[87]</a></sup> 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.<sup id="cite_ref-88" class="reference"><a href="#cite_note-88">[88]</a></sup> Twenty-eight more tapestries were produced during Moore's lifetime.<sup id="cite_ref-89" class="reference"><a href="#cite_note-89">[89]</a></sup>
</p>
<h2><span class="mw-headline" id="Recognition">Recognition</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=15"title="Edit section: Recognition"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/info/en/?search=File:Heroic_Bust,_Henry_Moore_by_Alexander_Stoddart_1992.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg/170px-Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg" decoding="async" width="170" height="255" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg/255px-Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg/340px-Heroic_Bust%2C_Henry_Moore_by_Alexander_Stoddart_1992.jpg 2x" data-file-width="2056" data-file-height="3088" /></a><figcaption>Heroic Bust, Henry Moore by <a href="/info/en/?search=Alexander_Stoddart" title="Alexander Stoddart">Alexander Stoddart</a> 1992</figcaption></figure>
<p>In 1948, Moore won the International Sculpture Prize at the <a href="/info/en/?search=Venice_Biennale" title="Venice Biennale">Venice Biennale</a>.<sup id="cite_ref-90" class="reference"><a href="#cite_note-90">[90]</a></sup> He turned down a <a href="/info/en/?search=Knight" title="Knight">knighthood</a> in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".<sup id="cite_ref-:1_65-1" class="reference"><a href="#cite_note-:1-65">[65]</a></sup> He was, however, appointed a <a href="/info/en/?search=Member_of_the_Order_of_the_Companions_of_Honour" class="mw-redirect" title="Member of the Order of the Companions of Honour">Member of the Order of the Companions of Honour</a> in 1955 and <sup id="cite_ref-91" class="reference"><a href="#cite_note-91">[91]</a></sup> a <a href="/info/en/?search=Member_of_the_Order_of_Merit" class="mw-redirect" title="Member of the Order of Merit">Member of the Order of Merit</a> in 1963,<sup id="cite_ref-92" class="reference"><a href="#cite_note-92">[92]</a></sup> and received the <a href="/info/en/?search=Erasmus_Prize" title="Erasmus Prize">Erasmus Prize</a> in 1968.<sup id="cite_ref-93" class="reference"><a href="#cite_note-93">[93]</a></sup> He was also a member of both the <a href="/info/en/?search=American_Academy_of_Arts_and_Sciences" title="American Academy of Arts and Sciences">American Academy of Arts and Sciences</a> and the <a href="/info/en/?search=American_Philosophical_Society" title="American Philosophical Society">American Philosophical Society</a>.<sup id="cite_ref-94" class="reference"><a href="#cite_note-94">[94]</a></sup><sup id="cite_ref-95" class="reference"><a href="#cite_note-95">[95]</a></sup>
</p><p>He was a trustee of both the <a href="/info/en/?search=National_Gallery,_London" class="mw-redirect" title="National Gallery, London">National Gallery</a> and <a href="/info/en/?search=Tate_Gallery" class="mw-redirect" title="Tate Gallery">Tate Gallery</a>.<sup id="cite_ref-96" class="reference"><a href="#cite_note-96">[96]</a></sup> His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society,<sup id="cite_ref-97" class="reference"><a href="#cite_note-97">[97]</a></sup> which had been founded to campaign for a separate museum in which the whole Turner Bequest<sup id="cite_ref-98" class="reference"><a href="#cite_note-98">[98]</a></sup> might be reunited, an aim defeated by the National Gallery and Tate Gallery.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/info/en/?search=Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2019)">citation needed</span></a></i>]</sup>
</p><p>Given to the City of London by Moore and the Contemporary Art Society in 1967, <i><a href="/info/en/?search=Knife_Edge_Two_Piece_1962%E2%80%9365" title="Knife Edge Two Piece 1962–65">Knife Edge Two Piece 1962–65</a></i> is displayed in <a href="/info/en/?search=College_Green,_London" title="College Green, London">Abingdon Street Gardens</a>, opposite the <a href="/info/en/?search=Palace_of_Westminster" title="Palace of Westminster">Houses of Parliament</a>, where its regular appearance in the background of televised news reports from Westminster makes it Moore's most prominent piece in Britain. The ownership of <i>Knife Edge Two Piece 1962–65</i> was disputed until its 2011 acquisition by the Parliamentary Art Collection.<sup id="cite_ref-ParlNews_99-0" class="reference"><a href="#cite_note-ParlNews-99">[99]</a></sup>
</p>
<h2><span class="mw-headline" id="Art_market">Art market</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=16"title="Edit section: Art market"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<p>By the end of his career, Moore was the world's most successful living artist at auction. In 1982, four years before his death, <a href="/info/en/?search=Sotheby%27s" title="Sotheby's">Sotheby's</a> in New York sold a 6-foot (1.8 m) <i>Reclining Figure</i> (1945), for $1.2 million to collector Wendell Cherry. Although a first record of $4.1 million was set in 1990, Moore's market slumped during the recession that followed. In 2012, his eight-foot bronze, <i><a href="/info/en/?search=Reclining_Figure:_Festival" title="Reclining Figure: Festival">Reclining Figure: Festival</a></i> (1951) sold for a record £19.1 million at <a href="/info/en/?search=Christie%27s" title="Christie's">Christie's</a>, making him the second most expensive 20th-century British artist after <a href="/info/en/?search=Francis_Bacon_(artist)" title="Francis Bacon (artist)">Francis Bacon</a>.<sup id="cite_ref-100" class="reference"><a href="#cite_note-100">[100]</a></sup>
</p>
<div style="clear:both;" class=""></div>
<h2><span class="mw-headline" id="Gallery">Gallery</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=17"title="Edit section: Gallery"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<ul class="gallery mw-gallery-traditional center">
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:MooreJerusalem1.jpg" class="mw-file-description" title="Draped Seated Woman (1957–58), Hebrew University of Jerusalem"><img alt="Draped Seated Woman (1957–58), Hebrew University of Jerusalem" src="https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/MooreJerusalem1.jpg/176px-MooreJerusalem1.jpg" decoding="async" width="176" height="132" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/MooreJerusalem1.jpg/264px-MooreJerusalem1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/MooreJerusalem1.jpg/352px-MooreJerusalem1.jpg 2x" data-file-width="2560" data-file-height="1920" /></a></span></div>
<div class="gallerytext"><i><a href="/info/en/?search=Draped_Seated_Woman_1957%E2%80%9358" title="Draped Seated Woman 1957–58">Draped Seated Woman</a></i> (1957–58), <a href="/info/en/?search=Hebrew_University_of_Jerusalem" title="Hebrew University of Jerusalem">Hebrew University of Jerusalem</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Moore_ThreePieceRecliningFigureNo1_1961.jpg" class="mw-file-description" title="Three Piece Reclining Figure No.1 (1961), Yorkshire Sculpture Park"><img alt="Three Piece Reclining Figure No.1 (1961), Yorkshire Sculpture Park" src="https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Moore_ThreePieceRecliningFigureNo1_1961.jpg/176px-Moore_ThreePieceRecliningFigureNo1_1961.jpg" decoding="async" width="176" height="122" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Moore_ThreePieceRecliningFigureNo1_1961.jpg/264px-Moore_ThreePieceRecliningFigureNo1_1961.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Moore_ThreePieceRecliningFigureNo1_1961.jpg/352px-Moore_ThreePieceRecliningFigureNo1_1961.jpg 2x" data-file-width="640" data-file-height="442" /></a></span></div>
<div class="gallerytext"><i>Three Piece Reclining Figure No.1</i> (1961), <a href="/info/en/?search=Yorkshire_Sculpture_Park" title="Yorkshire Sculpture Park">Yorkshire Sculpture Park</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Knife_Edge_Two_Piece_-_Henry_Moore.jpg" class="mw-file-description" title="Knife Edge Two Piece (1962–65) (bronze), (1962), opposite House of Lords, London"><img alt="Knife Edge Two Piece (1962–65) (bronze), (1962), opposite House of Lords, London" src="https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Knife_Edge_Two_Piece_-_Henry_Moore.jpg/176px-Knife_Edge_Two_Piece_-_Henry_Moore.jpg" decoding="async" width="176" height="117" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Knife_Edge_Two_Piece_-_Henry_Moore.jpg/264px-Knife_Edge_Two_Piece_-_Henry_Moore.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/68/Knife_Edge_Two_Piece_-_Henry_Moore.jpg/352px-Knife_Edge_Two_Piece_-_Henry_Moore.jpg 2x" data-file-width="5205" data-file-height="3472" /></a></span></div>
<div class="gallerytext"><i><a href="/info/en/?search=Knife_Edge_Two_Piece" class="mw-redirect" title="Knife Edge Two Piece">Knife Edge Two Piece</a></i> (1962–65) (<a href="/info/en/?search=Bronze" title="Bronze">bronze</a>), (1962), opposite <a href="/info/en/?search=House_of_Lords" title="House of Lords">House of Lords</a>, <a href="/info/en/?search=London" title="London">London</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Henry_Moore%27s_sculpture,_Q._E._Park,_Vancouver.jpg" class="mw-file-description" title="Knife Edge Two Piece (1962–65), Queen Elizabeth Park, Vancouver, B.C., Canada. 1970."><img alt="Knife Edge Two Piece (1962–65), Queen Elizabeth Park, Vancouver, B.C., Canada. 1970." src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Henry_Moore%27s_sculpture%2C_Q._E._Park%2C_Vancouver.jpg/176px-Henry_Moore%27s_sculpture%2C_Q._E._Park%2C_Vancouver.jpg" decoding="async" width="176" height="148" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/c/c8/Henry_Moore%27s_sculpture%2C_Q._E._Park%2C_Vancouver.jpg 1.5x" data-file-width="234" data-file-height="197" /></a></span></div>
<div class="gallerytext"><i><a href="/info/en/?search=Knife_Edge_Two_Piece" class="mw-redirect" title="Knife Edge Two Piece">Knife Edge Two Piece</a></i> (1962–65), Queen Elizabeth Park, <a href="/info/en/?search=Vancouver,_B.C." class="mw-redirect" title="Vancouver, B.C.">Vancouver, B.C.</a>, Canada. 1970.</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg" class="mw-file-description" title="Two Piece Reclining Figure No. 5 (1963–64), bronze, Kenwood House grounds, London"><img alt="Two Piece Reclining Figure No. 5 (1963–64), bronze, Kenwood House grounds, London" src="https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg/176px-Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg" decoding="async" width="176" height="119" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg/264px-Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg/352px-Henry_Moore_-_Two_Piece_Reclining_Figure_5_-_Kenwood.jpg 2x" data-file-width="1268" data-file-height="855" /></a></span></div>
<div class="gallerytext"><i>Two Piece Reclining Figure No. 5</i> (1963–64), bronze, <a href="/info/en/?search=Kenwood_House" title="Kenwood House">Kenwood House</a> grounds, <a href="/info/en/?search=London" title="London">London</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Oval_with_Points.jpg" class="mw-file-description" title="Oval with Points (1968–70), Henry Moore Foundation"><img alt="Oval with Points (1968–70), Henry Moore Foundation" src="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/120px-Oval_with_Points.jpg" decoding="async" width="120" height="150" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/180px-Oval_with_Points.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/240px-Oval_with_Points.jpg 2x" data-file-width="1200" data-file-height="1500" /></a></span></div>
<div class="gallerytext"><i><a href="/info/en/?search=Oval_with_Points" title="Oval with Points">Oval with Points</a></i> (1968–70), <a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG" class="mw-file-description" title="Sheep Piece (1971–72), Zürichhorn, Zürich-Seefeld, Switzerland"><img alt="Sheep Piece (1971–72), Zürichhorn, Zürich-Seefeld, Switzerland" src="https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG/176px-%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG" decoding="async" width="176" height="117" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG/264px-%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/09/%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG/352px-%27Sheep_Piece%27_von_Henry_Moore_beim_Hafen_Riesbach_in_Z%C3%BCrich-Seefeld_2014-03-12_14-44-05.JPG 2x" data-file-width="4928" data-file-height="3264" /></a></span></div>
<div class="gallerytext"><i><a href="/info/en/?search=Sheep_Piece_1971%E2%80%9372" title="Sheep Piece 1971–72">Sheep Piece</a></i> (1971–72), <a href="/info/en/?search=Z%C3%BCrichhorn" title="Zürichhorn">Zürichhorn</a>, Zürich-<a href="/info/en/?search=Seefeld_(Z%C3%BCrich)" title="Seefeld (Zürich)">Seefeld</a>, Switzerland</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:HenryMoor_AGO.JPG" class="mw-file-description" title="Large Two Forms (1969), Art Gallery of Ontario"><img alt="Large Two Forms (1969), Art Gallery of Ontario" src="https://upload.wikimedia.org/wikipedia/commons/thumb/5/55/HenryMoor_AGO.JPG/176px-HenryMoor_AGO.JPG" decoding="async" width="176" height="117" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/5/55/HenryMoor_AGO.JPG/264px-HenryMoor_AGO.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/55/HenryMoor_AGO.JPG/352px-HenryMoor_AGO.JPG 2x" data-file-width="4288" data-file-height="2848" /></a></span></div>
<div class="gallerytext"><i>Large Two Forms</i> (1969), <a href="/info/en/?search=Art_Gallery_of_Ontario" title="Art Gallery of Ontario">Art Gallery of Ontario</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Moore_Hongkong.JPG" class="mw-file-description" title="Double Oval (1966), Jardine House, Central, Hong Kong"><img alt="Double Oval (1966), Jardine House, Central, Hong Kong" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Moore_Hongkong.JPG/176px-Moore_Hongkong.JPG" decoding="async" width="176" height="123" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Moore_Hongkong.JPG/264px-Moore_Hongkong.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Moore_Hongkong.JPG/352px-Moore_Hongkong.JPG 2x" data-file-width="1600" data-file-height="1119" /></a></span></div>
<div class="gallerytext"><i>Double Oval</i> (1966), <a href="/info/en/?search=Jardine_House" title="Jardine House">Jardine House</a>, <a href="/info/en/?search=Central,_Hong_Kong" title="Central, Hong Kong">Central, Hong Kong</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Henry_Moore_-_Sculpture_with_hole_and_light.jpg" class="mw-file-description" title="Sculpture with Hole and Light (1967), Kröller-Müller Museum, Otterlo"><img alt="Sculpture with Hole and Light (1967), Kröller-Müller Museum, Otterlo" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Henry_Moore_-_Sculpture_with_hole_and_light.jpg/176px-Henry_Moore_-_Sculpture_with_hole_and_light.jpg" decoding="async" width="176" height="132" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Henry_Moore_-_Sculpture_with_hole_and_light.jpg/264px-Henry_Moore_-_Sculpture_with_hole_and_light.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Henry_Moore_-_Sculpture_with_hole_and_light.jpg/352px-Henry_Moore_-_Sculpture_with_hole_and_light.jpg 2x" data-file-width="4608" data-file-height="3456" /></a></span></div>
<div class="gallerytext"><i>Sculpture with Hole and Light</i> (1967), <a href="/info/en/?search=Kr%C3%B6ller-M%C3%BCller_Museum" title="Kröller-Müller Museum">Kröller-Müller Museum</a>, <a href="/info/en/?search=Otterlo" title="Otterlo">Otterlo</a></div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Three_Picture_Sculpture_-_Henry_Moore.jpg" class="mw-file-description" title="Three Piece Sculpture: Vertebrae (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005"><img alt="Three Piece Sculpture: Vertebrae (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Three_Picture_Sculpture_-_Henry_Moore.jpg/176px-Three_Picture_Sculpture_-_Henry_Moore.jpg" decoding="async" width="176" height="132" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Three_Picture_Sculpture_-_Henry_Moore.jpg/264px-Three_Picture_Sculpture_-_Henry_Moore.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/80/Three_Picture_Sculpture_-_Henry_Moore.jpg/352px-Three_Picture_Sculpture_-_Henry_Moore.jpg 2x" data-file-width="2048" data-file-height="1536" /></a></span></div>
<div class="gallerytext"><i>Three Piece Sculpture: Vertebrae</i> (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:The_Arch_-_Henry_Moore.jpg" class="mw-file-description" title="The Arch (1963/69), Henry Moore – Kunst in Schwäbisch Hall"><img alt="The Arch (1963/69), Henry Moore – Kunst in Schwäbisch Hall" src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/The_Arch_-_Henry_Moore.jpg/176px-The_Arch_-_Henry_Moore.jpg" decoding="async" width="176" height="132" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/The_Arch_-_Henry_Moore.jpg/264px-The_Arch_-_Henry_Moore.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f4/The_Arch_-_Henry_Moore.jpg/352px-The_Arch_-_Henry_Moore.jpg 2x" data-file-width="2048" data-file-height="1536" /></a></span></div>
<div class="gallerytext"><i>The Arch</i> (1963/69), Henry Moore – Kunst in Schwäbisch Hall</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg" class="mw-file-description" title="Large Interior Form (1953–54), Henry Moore – Kunst in Schwäbisch Hall"><img alt="Large Interior Form (1953–54), Henry Moore – Kunst in Schwäbisch Hall" src="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg/112px-Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg" decoding="async" width="112" height="150" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg/169px-Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg/225px-Henry_Moore_-_Kunst_4_in_Schw%C3%A4bisch_Hall.jpg 2x" data-file-width="1536" data-file-height="2048" /></a></span></div>
<div class="gallerytext"><i>Large Interior Form</i> (1953–54), Henry Moore – Kunst in Schwäbisch Hall</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg" class="mw-file-description" title="Reclining Figure (1982), Henry Moore – Kunst in Schwäbisch Hall"><img alt="Reclining Figure (1982), Henry Moore – Kunst in Schwäbisch Hall" src="https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg/176px-Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg" decoding="async" width="176" height="132" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg/264px-Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg/352px-Henry_Moore_-_Kunst_3_in_Schw%C3%A4bisch_Hall.jpg 2x" data-file-width="2048" data-file-height="1536" /></a></span></div>
<div class="gallerytext"><i>Reclining Figure</i> (1982), Henry Moore – Kunst in Schwäbisch Hall</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:HenryMoore_TwoPieceRecliningFigureNo3.jpg" class="mw-file-description" title="Two Piece Reclining Figure No. 3, Henry Moore, Brandon Estate, Kennington, London"><img alt="Two Piece Reclining Figure No. 3, Henry Moore, Brandon Estate, Kennington, London" src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/34/HenryMoore_TwoPieceRecliningFigureNo3.jpg/176px-HenryMoore_TwoPieceRecliningFigureNo3.jpg" decoding="async" width="176" height="135" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/3/34/HenryMoore_TwoPieceRecliningFigureNo3.jpg/264px-HenryMoore_TwoPieceRecliningFigureNo3.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/34/HenryMoore_TwoPieceRecliningFigureNo3.jpg/352px-HenryMoore_TwoPieceRecliningFigureNo3.jpg 2x" data-file-width="7000" data-file-height="5383" /></a></span></div>
<div class="gallerytext"><i>Two Piece Reclining Figure No. 3</i>, Henry Moore, Brandon Estate, Kennington, London</div>
</li>
<li class="gallerybox" style="width: 211px">
<div class="thumb" style="width: 206px; height: 180px;"><span typeof="mw:File"><a href="/info/en/?search=File:018_ceh_0125.jpg" class="mw-file-description" title="Reclining Figure (1982), Worcester College, Oxford"><img alt="Reclining Figure (1982), Worcester College, Oxford" src="https://upload.wikimedia.org/wikipedia/commons/thumb/4/46/018_ceh_0125.jpg/176px-018_ceh_0125.jpg" decoding="async" width="176" height="52" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/4/46/018_ceh_0125.jpg/264px-018_ceh_0125.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/018_ceh_0125.jpg/352px-018_ceh_0125.jpg 2x" data-file-width="1020" data-file-height="300" /></a></span></div>
<div class="gallerytext"><i>Reclining Figure (1982), <a href="/info/en/?search=Worcester_College,_Oxford" title="Worcester College, Oxford">Worcester College, Oxford</a></i></div>
</li>
</ul>
<h2><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=18"title="Edit section: See also"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<ul><li><a href="/info/en/?search=List_of_sculptures_by_Henry_Moore" title="List of sculptures by Henry Moore">List of sculptures by Henry Moore</a></li></ul>
<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=19"title="Edit section: References"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<style data-mw-deduplicate="TemplateStyles:r1217336898">.mw-parser-output .reflist{font-size:90%;margin-bottom:0.5em;list-style-type:decimal}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist">
<div class="mw-references-wrap mw-references-columns"><ol class="references">
<li id="cite_note-G15-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-G15_1-0">^</a></b></span> <span class="reference-text">Grohmann, 16.</span>
</li>
<li id="cite_note-HMF-website-bio-childhood-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-HMF-website-bio-childhood_2-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1215172403">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("https://upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a{background-size:contain}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("https://upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a{background-size:contain}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("https://upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a{background-size:contain}.mw-parser-output .cs1-ws-icon a{background:url("https://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:#d33}.mw-parser-output .cs1-visible-error{color:#d33}.mw-parser-output .cs1-maint{display:none;color:#2C882D;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911F}html.skin-theme-clientpref-night .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-night .mw-parser-output .cs1-hidden-error{color:#f8a397}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-os .mw-parser-output .cs1-hidden-error{color:#f8a397}html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911F}}</style><cite class="citation web cs1"><a class="external text" href="https://www.henry-moore.org/about-henry-moore/biography/childhood-and-education">"1898–1925: Childhood and Education"</a>. Henry Moore Foundation<span class="reference-accessdate">. Retrieved <span class="nowrap">24 January</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=1898%E2%80%931925%3A+Childhood+and+Education&rft.pub=Henry+Moore+Foundation&rft_id=https%3A%2F%2Fwww.henry-moore.org%2Fabout-henry-moore%2Fbiography%2Fchildhood-and-education&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Grohmann, 15.</span>
</li>
<li id="cite_note-Berthoud-19-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Berthoud-19_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Berthoud-19_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Berthoud, 19.</span>
</li>
<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Berthoud, 16–19.</span>
</li>
<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><a class="external text" href="https://www.oxforddnb.com/view/printable/39962">Oxford Dictionary of National Biography</a></span>
</li>
<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Beckett et al.</span>
</li>
<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFWilkinson2002" class="citation book cs1">Wilkinson, Alan G. (2002). <i>Henry Moore: Writings and Conversations</i>. University of California Press. p. 41. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-520-23161-9" title="Special:BookSources/0-520-23161-9"><bdi>0-520-23161-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+Writings+and+Conversations&rft.pages=41&rft.pub=University+of+California+Press&rft.date=2002&rft.isbn=0-520-23161-9&rft.aulast=Wilkinson&rft.aufirst=Alan+G.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.iwm.org.uk/collections/item/object/19445">"Letter to Arthur Sale, 30 April 1940"</a>. Imperial War Museum<span class="reference-accessdate">. Retrieved <span class="nowrap">5 May</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Letter+to+Arthur+Sale%2C+30+April+1940&rft.pub=Imperial+War+Museum&rft_id=http%3A%2F%2Fwww.iwm.org.uk%2Fcollections%2Fitem%2Fobject%2F19445&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20090202025214/http://www.moma.org/collection/details.php?artist_id=4071&section_id=T059426">"Henry Moore: Life and Work"</a>. Museum of Modern Art. Archived from <a class="external text" href="https://www.moma.org/collection/details.php?artist_id=4071&section_id=T059426">the original</a> on 2 February 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">28 February</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Henry+Moore%3A+Life+and+Work&rft.pub=Museum+of+Modern+Art&rft_id=http%3A%2F%2Fwww.moma.org%2Fcollection%2Fdetails.php%3Fartist_id%3D4071%26section_id%3DT059426&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Barassi, Sebastiano. "A Master in the Making". <i>Becoming Henry Moore</i> 2017. pp. 21; 31–32.</span>
</li>
<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Moore, Tania. "The Nation's Collections". <i>Becoming Henry Moore</i> 2017. pp. 83–86.</span>
</li>
<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFAllemand-CosneauFathMitchinson1996" class="citation book cs1">Allemand-Cosneau, Claude; Fath, Manfred; Mitchinson, David (1996). <i>Henry Moore</i>. Nantes: Musée des Beaux Arts. p. 63. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/3-7913-1662-1" title="Special:BookSources/3-7913-1662-1"><bdi>3-7913-1662-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore&rft.place=Nantes&rft.pages=63&rft.pub=Mus%C3%A9e+des+Beaux+Arts&rft.date=1996&rft.isbn=3-7913-1662-1&rft.aulast=Allemand-Cosneau&rft.aufirst=Claude&rft.au=Fath%2C+Manfred&rft.au=Mitchinson%2C+David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Berthoud, 61–62.</span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20090201004845/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383">"Henry Moore: Biography 1916–1925"</a>. Henry Moore Foundation. Archived from <a class="external text" href="https://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383">the original</a> on 1 February 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">24 September</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Henry+Moore%3A+Biography+1916%E2%80%931925&rft.pub=Henry+Moore+Foundation&rft_id=http%3A%2F%2Fwww.henry-moore-fdn.co.uk%2Fmatrix_engine%2Fcontent.php%3Fpage_id%3D383&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCork1985" class="citation book cs1">Cork, Richard (1985). <i>Art Beyond the Gallery in Early 20th Century England: In Early 20th Century England</i>. Yale University Press. p. 249. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-300-03236-6" title="Special:BookSources/0-300-03236-6"><bdi>0-300-03236-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+Beyond+the+Gallery+in+Early+20th+Century+England%3A+In+Early+20th+Century+England&rft.pages=249&rft.pub=Yale+University+Press&rft.date=1985&rft.isbn=0-300-03236-6&rft.aulast=Cork&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Berthoud, 88.</span>
</li>
<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMoore2002" class="citation book cs1">Moore, Henry (2002). <a class="external text" href="https://books.google.com/books?id=pzqg4l-ce7oC&pg=PA55"><i>Henry Moore-- Writings and Conversations</i></a>. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-520-23161-0" title="Special:BookSources/978-0-520-23161-0"><bdi>978-0-520-23161-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore--+Writings+and+Conversations&rft.date=2002&rft.isbn=978-0-520-23161-0&rft.aulast=Moore&rft.aufirst=Henry&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dpzqg4l-ce7oC%26pg%3DPA55&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Berthould, pp. 98–101.</span>
</li>
<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20081210091401/http://www.modernism101.com/read_henry_moore.php">"Henry Moore: Sculptor"</a>. Modernism 101. Archived from <a class="external text" href="https://www.modernism101.com/read_henry_moore.php">the original</a> on 10 December 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">22 September</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Henry+Moore%3A+Sculptor&rft.pub=Modernism+101&rft_id=http%3A%2F%2Fwww.modernism101.com%2Fread_henry_moore.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Berthoud, pp. 123–124.</span>
</li>
<li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Grohmann, 30.</span>
</li>
<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20140726193402/http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society">"The Seven and Five Society"</a>. Tate. Archived from <a class="external text" href="https://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society">the original</a> on 26 July 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">4 September</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Seven+and+Five+Society&rft.pub=Tate&rft_id=http%3A%2F%2Fwww.tate.org.uk%2Flearn%2Fonline-resources%2Fglossary%2Fs%2Fthe-seven-and-five-society&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRojas2013" class="citation news cs1">Rojas, Laurie (30 October 2013). <a class="external text" href="https://web.archive.org/web/20131103014202/http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813">"Henry Moore Revisits Spain"</a>. <i>The Art Newspaper</i>. Archived from <a class="external text" href="https://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813">the original</a> on 3 November 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Art+Newspaper&rft.atitle=Henry+Moore+Revisits+Spain&rft.date=2013-10-30&rft.aulast=Rojas&rft.aufirst=Laurie&rft_id=http%3A%2F%2Fwww.theartnewspaper.com%2Farticles%2FHenry-Moore-revisits-Spain%2F30813&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Berthoud, p. 161.</span>
</li>
<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Berthoud, 172.</span>
</li>
<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Beckett et al., 6.</span>
</li>
<li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLuke2014" class="citation news cs1">Luke, Ben (20 May 2014). <a class="external text" href="https://www.standard.co.uk/go/london/exhibitions/civilisation-the-passions-and-prejudices-of-kenneth-clark-9401507.html">"Civilisation: the passions and prejudices of Kenneth Clark"</a>. <i>Evening Standard</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 June</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Evening+Standard&rft.atitle=Civilisation%3A+the+passions+and+prejudices+of+Kenneth+Clark&rft.date=2014-05-20&rft.aulast=Luke&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.standard.co.uk%2Fgo%2Flondon%2Fexhibitions%2Fcivilisation-the-passions-and-prejudices-of-kenneth-clark-9401507.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20090409124847/http://www.tate.org.uk/magazine/issue2/moore.htm">"Insight at end of the Tunnel"</a>. Tate. Archived from <a class="external text" href="https://www.tate.org.uk/magazine/issue2/moore.htm">the original</a> on 9 April 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">16 August</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Insight+at+end+of+the+Tunnel&rft.pub=Tate&rft_id=http%3A%2F%2Fwww.tate.org.uk%2Fmagazine%2Fissue2%2Fmoore.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-Foss-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-Foss_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Foss_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFoss2007" class="citation book cs1">Foss, Brian (2007). <i>War paint: Art, War, State and Identity in Britain, 1939–1945</i>. Yale University Press. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-300-10890-3" title="Special:BookSources/978-0-300-10890-3"><bdi>978-0-300-10890-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=War+paint%3A+Art%2C+War%2C+State+and+Identity+in+Britain%2C+1939%E2%80%931945&rft.pub=Yale+University+Press&rft.date=2007&rft.isbn=978-0-300-10890-3&rft.aulast=Foss&rft.aufirst=Brian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-WW2Art-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-WW2Art_31-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation book cs1"><i>Art from the Second World War</i>. Imperial War Museum. 2007. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-1-904897-66-8" title="Special:BookSources/978-1-904897-66-8"><bdi>978-1-904897-66-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+from+the+Second+World+War&rft.pub=Imperial+War+Museum&rft.date=2007&rft.isbn=978-1-904897-66-8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFJelbert2021" class="citation journal cs1">Jelbert, Rebecca (2021). <a class="external text" href="https://muse.jhu.edu/article/872084">"Henry Moore's Wartime Drawings (1939–1942) and the Influence of Gustave Doré's Illustrations for Dante's 'Divine Comedy'<span class="cs1-kern-right"></span>"</a>. <i>Dante Studies</i>. <b>139</b>: 154–187. <a href="/info/en/?search=Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1353%2Fdas.2021.0005">10.1353/das.2021.0005</a>. <a href="/info/en/?search=S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a class="external text" href="https://api.semanticscholar.org/CorpusID:254221459">254221459</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Dante+Studies&rft.atitle=Henry+Moore%27s+Wartime+Drawings+%281939%E2%80%931942%29+and+the+Influence+of+Gustave+Dor%C3%A9%27s+Illustrations+for+Dante%27s+%27Divine+Comedy%27&rft.volume=139&rft.pages=154-187&rft.date=2021&rft_id=info%3Adoi%2F10.1353%2Fdas.2021.0005&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A254221459%23id-name%3DS2CID&rft.aulast=Jelbert&rft.aufirst=Rebecca&rft_id=https%3A%2F%2Fmuse.jhu.edu%2Farticle%2F872084&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Berthoud, 192–193.</span>
</li>
<li id="cite_note-Henry_Moore-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-Henry_Moore_34-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.guggenheim.org/artwork/artist/henry-moore">"Henry Moore"</a>. Guggenheim Collection<span class="reference-accessdate">. Retrieved <span class="nowrap">28 February</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Henry+Moore&rft.pub=Guggenheim+Collection&rft_id=https%3A%2F%2Fwww.guggenheim.org%2Fartwork%2Fartist%2Fhenry-moore&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">"Henry Moore: The Human Dimension". HMF Enterprises, 1991. 83. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-85331-610-4" title="Special:BookSources/0-85331-610-4">0-85331-610-4</a></span>
</li>
<li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Beckett et al., 96.</span>
</li>
<li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Berthoud, 221–222.</span>
</li>
<li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Berthoud, 261.</span>
</li>
<li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Wilkinson, 275.</span>
</li>
<li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.unesco.org/artcollection/NavigationAction.do?idOeuvre=3066">"Moore, Henry (1898-1986) - RECLINING FIGURE"</a>. <i>www.unesco.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.unesco.org&rft.atitle=Moore%2C+Henry+%281898-1986%29+-+RECLINING+FIGURE&rft_id=https%3A%2F%2Fwww.unesco.org%2Fartcollection%2FNavigationAction.do%3FidOeuvre%3D3066&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><a class="external text" href="https://www.tate.org.uk/britain/exhibitions/caro/chronology.htm">Anthony Caro</a>. Tate exhibition catalogue, 2005. Retrieved on 20 September 2008.</span>
</li>
<li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://artuk.org/discover/artists/piche-roland-b-1938">"Piche, Roland, b.1938 | Art UK"</a>. <i>artuk.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=artuk.org&rft.atitle=Piche%2C+Roland%2C+b.1938+%7C+Art+UK&rft_id=https%3A%2F%2Fartuk.org%2Fdiscover%2Fartists%2Fpiche-roland-b-1938&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text"><a class="external text" href="https://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2132&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio,">Wentworth</a>. tate.org.uk. Retrieved on 20 September 2008.</span>
</li>
<li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">3:36 p.m., 2 December 1967. In: McNally, Rand. "Illinois; Guide & Gazetteer". Illinois Sesquicentennial Commission. University of Virginia, 1969. 199.</span>
</li>
<li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Beckett et al., 221.</span>
</li>
<li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Sachs, Robert G. "<a class="external text" href="https://physics.uchicago.edu/moore_sculpture.html">Henry Moore, sculptor</a>". In "The Nuclear Chain Reaction-Forty Years Later". <a href="/info/en/?search=University_of_Chicago" title="University of Chicago">University of Chicago</a>. Retrieved on 11 November 2007. <a class="external text" href="https://web.archive.org/web/20071113135127/http://physics.uchicago.edu/moore_sculpture.html">Archived</a> 13 November 2007 at the <a href="/info/en/?search=Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>
</li>
<li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><a href="/info/en/?search=File:20070701_Man_Enters_The_Cosmos_Explanatory_Plaques.JPG" title="File:20070701 Man Enters The Cosmos Explanatory Plaques.JPG">Enscripted on the plaque at the base of the sculpture</a>.</span>
</li>
<li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Chamot, Mary; Farr, Dennis; <a href="/info/en/?search=Martin_Butlin" title="Martin Butlin">Butlin, Martin</a>. "<a class="external text" href="https://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689">Henry Moore</a> <a class="external text" href="https://web.archive.org/web/20090131163721/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689">Archived</a> 31 January 2009 at the <a href="/info/en/?search=Wayback_Machine" title="Wayback Machine">Wayback Machine</a>". "The Modern British Paintings, drawings and Sculpture", Volume II. London: Oldbourne Press, 1964. 481. Retrieved on 5 September 2008.</span>
</li>
<li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFKennedy1999" class="citation news cs1">Kennedy, Maev (22 April 1999). <a class="external text" href="https://www.theguardian.com/theguardian/1999/apr/22/features11.g23">"A hush falls over Henry Moore country"</a>. <i>The Guardian</i><span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=A+hush+falls+over+Henry+Moore+country&rft.date=1999-04-22&rft.aulast=Kennedy&rft.aufirst=Maev&rft_id=http%3A%2F%2Fwww.theguardian.com%2Ftheguardian%2F1999%2Fapr%2F22%2Ffeatures11.g23&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=2498">"GHDI – Image"</a>. <i>ghi-dc.org</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ghi-dc.org&rft.atitle=GHDI+%E2%80%93+Image&rft_id=http%3A%2F%2Fgermanhistorydocs.ghi-dc.org%2Fsub_image.cfm%3Fimage_id%3D2498&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDavis1992" class="citation book cs1">Davis, Alexander (1992). <a class="external text" href="https://books.google.com/books?id=WVnrAAAAMAAJ"><i>Henry Moore Bibliography: 1986–1991, together with supplementary 1898–1986 publications</i></a>. Vol. 4. Henry Moore Foundation. p. 140. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-906909-09-6" title="Special:BookSources/978-0-906909-09-6"><bdi>978-0-906909-09-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore+Bibliography%3A+1986%E2%80%931991%2C+together+with+supplementary+1898%E2%80%931986+publications&rft.pages=140&rft.pub=Henry+Moore+Foundation&rft.date=1992&rft.isbn=978-0-906909-09-6&rft.aulast=Davis&rft.aufirst=Alexander&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DWVnrAAAAMAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20110706045046/https://www.tate.org.uk/magazine/issue5/hepworth.htm">"The Hole of Life"</a>. <i>Tate Magazine</i>. Archived from <a class="external text" href="https://www.tate.org.uk/magazine/issue5/hepworth.htm">the original</a> on 6 July 2011<span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tate+Magazine&rft.atitle=The+Hole+of+Life&rft_id=https%3A%2F%2Fwww.tate.org.uk%2Fmagazine%2Fissue5%2Fhepworth.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDay2008" class="citation news cs1">Day, Elizabeth (26 July 2008). <a class="external text" href="https://www.theguardian.com/artanddesign/2008/jul/27/1">"The Moore legacy"</a>. <i>The Observer</i>. <a href="/info/en/?search=ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a class="external text" href="https://www.worldcat.org/issn/0029-7712">0029-7712</a><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Observer&rft.atitle=The+Moore+legacy&rft.date=2008-07-26&rft.issn=0029-7712&rft.aulast=Day&rft.aufirst=Elizabeth&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2008%2Fjul%2F27%2F1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSabbath1985" class="citation news cs1">Sabbath, Lawrence (5 October 1985). <a class="external text" href="https://news.google.com/newspapers?nid=1946&dat=19851005&id=fxUyAAAAIBAJ&sjid=4qUFAAAAIBAJ&pg=1222,2443455">"Show chance to view '20th-century Michelangelo'<span class="cs1-kern-right"></span>"</a>. <i><a href="/info/en/?search=The_Gazette_(Montreal)" title="The Gazette (Montreal)">The Gazette</a></i>. p. 11.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Gazette&rft.atitle=Show+chance+to+view+%2720th-century+Michelangelo%27&rft.pages=11&rft.date=1985-10-05&rft.aulast=Sabbath&rft.aufirst=Lawrence&rft_id=https%3A%2F%2Fnews.google.com%2Fnewspapers%3Fnid%3D1946%26dat%3D19851005%26id%3DfxUyAAAAIBAJ%26sjid%3D4qUFAAAAIBAJ%26pg%3D1222%2C2443455&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Berthoud, pp. 92–93.</span>
</li>
<li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Berthoud, pp. 280–282.</span>
</li>
<li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><i>Sculpture in Rotterdam</i>. van Adrichem, Jan; Bouwhuis, Jelle; Dölle, Mariette. 2002. Rotterdam: Centre for the Arts. p. 180.</span>
</li>
<li id="cite_note-C34-58"><span class="mw-cite-backlink">^ <a href="#cite_ref-C34_58-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-C34_58-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Causey, 34.</span>
</li>
<li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Morris, Frances. "Paris Post War: Art and Existentialism 1945–55". Tate Gallery, 1993. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/1-85437-124-X" title="Special:BookSources/1-85437-124-X">1-85437-124-X</a></span>
</li>
<li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Causey, 71.</span>
</li>
<li id="cite_note-arts-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-arts_61-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFJones2007" class="citation web cs1">Jones, Ann (2007). <a class="external text" href="https://web.archive.org/web/20150630034027/http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf">"Geometry of Fear: Works from the Arts Council Collection"</a> <span class="cs1-format">(PDF)</span> (exhibition leaflet). London: Southbank Centre. Archived from <a class="external text" href="https://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf">the original</a> <span class="cs1-format">(PDF)</span> on 30 June 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">6 May</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Geometry+of+Fear%3A+Works+from+the+Arts+Council+Collection&rft.place=London&rft.pub=Southbank+Centre&rft.date=2007&rft.aulast=Jones&rft.aufirst=Ann&rft_id=http%3A%2F%2Fwww.artscouncilcollection.org.uk%2Fsites%2Fdefault%2Ffiles%2FGeometry_Of_Fear_leaflet.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20160201090252/http://www.anthonycaro.org/frames-related/biography.htm">"Anthony Caro Biography"</a>. <i>anthonycaro.org</i>. Archived from <a class="external text" href="https://www.anthonycaro.org/frames-related/biography.htm">the original</a> on 1 February 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=anthonycaro.org&rft.atitle=Anthony+Caro+Biography&rft_id=http%3A%2F%2Fwww.anthonycaro.org%2Fframes-related%2Fbiography.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20080531062158/http://www.sculpture.org.uk/artists/PhillipKing/">"Phillip King"</a>. <i>www.sculpture.org.uk</i>. 31 May 2005. Archived from <a class="external text" href="https://www.sculpture.org.uk/artists/PhillipKing/">the original</a> on 31 May 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.sculpture.org.uk&rft.atitle=Phillip+King&rft.date=2005-05-31&rft_id=http%3A%2F%2Fwww.sculpture.org.uk%2Fartists%2FPhillipKing%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFJohnson2006" class="citation news cs1">Johnson, Ken (29 April 2006). <a class="external text" href="https://www.nytimes.com/2006/04/29/obituaries/isaac-witkin-69-innovator-in-abstract-metal-sculpture-is-dead.html">"Isaac Witkin, 69, Innovator in Abstract Metal Sculpture, Is Dead"</a>. <i><a href="/info/en/?search=The_New_York_Times" title="The New York Times">The New York Times</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Isaac+Witkin%2C+69%2C+Innovator+in+Abstract+Metal+Sculpture%2C+Is+Dead&rft.date=2006-04-29&rft.aulast=Johnson&rft.aufirst=Ken&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2006%2F04%2F29%2Fobituaries%2Fisaac-witkin-69-innovator-in-abstract-metal-sculpture-is-dead.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-:1-65"><span class="mw-cite-backlink">^ <a href="#cite_ref-:1_65-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:1_65-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTurner2003" class="citation web cs1">Turner, Chris (1 August 2003). <a class="external text" href="https://web.archive.org/web/20160303212956/http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore">"The Bronze Age"</a>. Archived from <a class="external text" href="https://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore">the original</a> on 3 March 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Bronze+Age&rft.date=2003-08-01&rft.aulast=Turner&rft.aufirst=Chris&rft_id=http%3A%2F%2Fwww.tate.org.uk%2Fcontext-comment%2Farticles%2Fthe-bronze-age-henry-moore&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.henry-moore.org/about-the-foundation">"About the Foundation"</a>. <i>Henry Moore Foundation</i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 November</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Henry+Moore+Foundation&rft.atitle=About+the+Foundation&rft_id=https%3A%2F%2Fwww.henry-moore.org%2Fabout-the-foundation&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDavid2012" class="citation news cs1">David, Wilcock (13 July 2012). <a class="external text" href="https://www.independent.co.uk/news/uk/crime/henry-moore-sundial-stolen-from-former-garden-7941456.html">"Henry Moore sundial stolen from former garden"</a>. <i><a href="/info/en/?search=The_Independent" title="The Independent">The Independent</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Independent&rft.atitle=Henry+Moore+sundial+stolen+from+former+garden&rft.date=2012-07-13&rft.aulast=David&rft.aufirst=Wilcock&rft_id=https%3A%2F%2Fwww.independent.co.uk%2Fnews%2Fuk%2Fcrime%2Fhenry-moore-sundial-stolen-from-former-garden-7941456.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a class="external text" href="https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html">"Bronze Henry Moore work stolen from sculpture park"</a>. <i><a href="/info/en/?search=Evening_Standard" title="Evening Standard">Evening Standard</a></i>. 14 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Evening+Standard&rft.atitle=Bronze+Henry+Moore+work+stolen+from+sculpture+park&rft.date=2023-10-14&rft_id=https%3A%2F%2Fwww.standard.co.uk%2Fnews%2Fcrime%2Fbronze-henry-moore-work-stolen-from-sculpture-park-8877283.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-standard.co.uk-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-standard.co.uk_69-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html">"Bronze Henry Moore work stolen from sculpture park"</a>. <i>Evening Standard</i>. 14 October 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Evening+Standard&rft.atitle=Bronze+Henry+Moore+work+stolen+from+sculpture+park&rft.date=2013-10-14&rft_id=https%3A%2F%2Fwww.standard.co.uk%2Fnews%2Fcrime%2Fbronze-henry-moore-work-stolen-from-sculpture-park-8877283.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a class="external text" href="https://www.bbc.co.uk/news/uk-scotland-south-scotland-24522871">"Missing Henry Moore bronze statue 'worth £3m'<span class="cs1-kern-right"></span>"</a>. <i>BBC News</i>. 13 October 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">15 October</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Missing+Henry+Moore+bronze+statue+%27worth+%C2%A33m%27&rft.date=2013-10-13&rft_id=https%3A%2F%2Fwww.bbc.co.uk%2Fnews%2Fuk-scotland-south-scotland-24522871&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFVogel2012" class="citation web cs1">Vogel, Carol (5 November 2012). <a class="external text" href="https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2012/11/05/british-art-world-figures-protest-possible-sale-of-a-henry-moore/">"British Art World Figures Protest Possible Sale of a Henry Moore"</a>. <i>ArtsBeat</i><span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ArtsBeat&rft.atitle=British+Art+World+Figures+Protest+Possible+Sale+of+a+Henry+Moore&rft.date=2012-11-05&rft.aulast=Vogel&rft.aufirst=Carol&rft_id=https%3A%2F%2Farchive.nytimes.com%2Fartsbeat.blogs.nytimes.com%2F2012%2F11%2F05%2Fbritish-art-world-figures-protest-possible-sale-of-a-henry-moore%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFYoungs2012" class="citation news cs1">Youngs, Ian (5 October 2012). <a class="external text" href="https://www.bbc.com/news/entertainment-arts-19846843">"Council to sell Henry Moore sculpture"</a>. <i>BBC News</i><span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News&rft.atitle=Council+to+sell+Henry+Moore+sculpture&rft.date=2012-10-05&rft.aulast=Youngs&rft.aufirst=Ian&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fentertainment-arts-19846843&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFAlberge2012" class="citation news cs1">Alberge, Dalya (3 November 2012). <a class="external text" href="https://www.theguardian.com/culture/2012/nov/03/henry-moore-sculpture">"Britain's cultural elite battles to halt sale of Henry Moore sculpture"</a>. <i><a href="/info/en/?search=The_Observer" title="The Observer">The Observer</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Observer&rft.atitle=Britain%27s+cultural+elite+battles+to+halt+sale+of+Henry+Moore+sculpture&rft.date=2012-11-03&rft.aulast=Alberge&rft.aufirst=Dalya&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fculture%2F2012%2Fnov%2F03%2Fhenry-moore-sculpture&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text">"<a class="external text" href="https://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33">Unfinished Business: Mark Wilsher on view from 26 July</a> <a class="external text" href="https://web.archive.org/web/20081006163517/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33">Archived</a> 6 October 2008 at the <a href="/info/en/?search=Wayback_Machine" title="Wayback Machine">Wayback Machine</a>". Henry Moore Foundation, 2008. Retrieved on 22 September 2008.</span>
</li>
<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://henry-moore.org/studios-and-gardens/plan-your-visit-studios-gardens/visiting-faqs-studios-gardens/">"Visiting FAQs – Studios & Gardens"</a>. <i>Henry Moore Foundation</i><span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Henry+Moore+Foundation&rft.atitle=Visiting+FAQs+%E2%80%93+Studios+%26+Gardens&rft_id=https%3A%2F%2Fhenry-moore.org%2Fstudios-and-gardens%2Fplan-your-visit-studios-gardens%2Fvisiting-faqs-studios-gardens%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBowcott2005" class="citation news cs1">Bowcott, Owen (19 December 2005). <a class="external text" href="https://www.theguardian.com/uk/2005/dec/19/arts.arttheft">"Lorry used to steal £3m Moore sculpture found on housing estate"</a>. <i><a href="/info/en/?search=The_Guardian" title="The Guardian">The Guardian</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">9 June</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Lorry+used+to+steal+%C2%A33m+Moore+sculpture+found+on+housing+estate&rft.date=2005-12-19&rft.aulast=Bowcott&rft.aufirst=Owen&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fuk%2F2005%2Fdec%2F19%2Farts.arttheft&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a class="external text" href="https://news.bbc.co.uk/1/hi/england/beds/bucks/herts/4537670.stm">"£3m Henry Moore sculpture stolen"</a>. <i><a href="/info/en/?search=BBC_News_Online" title="BBC News Online">BBC News Online</a></i>. 17 December 2005<span class="reference-accessdate">. Retrieved <span class="nowrap">9 June</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News+Online&rft.atitle=%C2%A33m+Henry+Moore+sculpture+stolen&rft.date=2005-12-17&rft_id=http%3A%2F%2Fnews.bbc.co.uk%2F1%2Fhi%2Fengland%2Fbeds%2Fbucks%2Fherts%2F4537670.stm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.theguardian.com/artanddesign/2012/jul/13/henry-moore-sundial-stolen-foundation?newsfeed=true">"Henry Moore sundial sculpture stolen from museum garden"</a>. <i>The Guardian</i>. 13 July 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Henry+Moore+sundial+sculpture+stolen+from+museum+garden&rft.date=2012-07-13&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2012%2Fjul%2F13%2Fhenry-moore-sundial-stolen-foundation%3Fnewsfeed%3Dtrue&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a class="external text" href="https://www.bbc.co.uk/news/uk-england-beds-bucks-herts-20591757">"Henry Moore sundial theft pair jailed"</a>. <i><a href="/info/en/?search=BBC_News_Online" title="BBC News Online">BBC News Online</a></i>. 4 December 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">3 May</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC+News+Online&rft.atitle=Henry+Moore+sundial+theft+pair+jailed&rft.date=2012-12-04&rft_id=https%3A%2F%2Fwww.bbc.co.uk%2Fnews%2Fuk-england-beds-bucks-herts-20591757&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.tate.org.uk/visit/tate-britain/display/henry-moore/henry-moore-tate">"Henry Moore at Tate"</a>. <i>Tate</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tate&rft.atitle=Henry+Moore+at+Tate&rft_id=https%3A%2F%2Fwww.tate.org.uk%2Fvisit%2Ftate-britain%2Fdisplay%2Fhenry-moore%2Fhenry-moore-tate&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://web.archive.org/web/20141012024555/http://www.toronto.ca/311/knowledgebase/59/101000040959.html">"The Archer – sculpture – Nathan Phillips Square"</a>. <i>toronto.ca</i>. Archived from <a class="external text" href="https://www.toronto.ca/311/knowledgebase/59/101000040959.html">the original</a> on 12 October 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=toronto.ca&rft.atitle=The+Archer+%E2%80%93+sculpture+%E2%80%93+Nathan+Phillips+Square&rft_id=http%3A%2F%2Fwww.toronto.ca%2F311%2Fknowledgebase%2F59%2F101000040959.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.toronto.ca/explore-enjoy/history-art-culture/online-exhibits/web-exhibits/web-exhibits-local-government/a-step-forward-in-time-torontos-new-city-hall/a-step-forward-in-time-public-art/">"A Step Forward in Time: Public Art"</a>. <i>City of Toronto</i>. 23 November 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">2 April</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=City+of+Toronto&rft.atitle=A+Step+Forward+in+Time%3A+Public+Art&rft.date=2017-11-23&rft_id=https%3A%2F%2Fwww.toronto.ca%2Fexplore-enjoy%2Fhistory-art-culture%2Fonline-exhibits%2Fweb-exhibits%2Fweb-exhibits-local-government%2Fa-step-forward-in-time-torontos-new-city-hall%2Fa-step-forward-in-time-public-art%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://henry-moore.org/henry-moore-works-in-public/">"Henry Moore Works in Public"</a>. <i>Henry Moore Foundation</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Henry+Moore+Foundation&rft.atitle=Henry+Moore+Works+in+Public&rft_id=https%3A%2F%2Fhenry-moore.org%2Fhenry-moore-works-in-public%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-:0-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-:0_84-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://art.nelson-atkins.org/people/2189/henry-spencer-moore/objects">"Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art"</a>. <i>art.nelson-atkins.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=art.nelson-atkins.org&rft.atitle=Works+%E2%80%93+Henry+Spencer+Moore+%E2%80%93+Artists%2FMakers+%E2%80%93+The+Nelson-Atkins+Museum+of+Art&rft_id=https%3A%2F%2Fart.nelson-atkins.org%2Fpeople%2F2189%2Fhenry-spencer-moore%2Fobjects&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://nelson-atkins.org/collection/donald-j-hall-sculpture-park/">"Donald J. Hall Sculpture Park"</a>. <i>Nelson Atkins</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Nelson+Atkins&rft.atitle=Donald+J.+Hall+Sculpture+Park&rft_id=https%3A%2F%2Fnelson-atkins.org%2Fcollection%2Fdonald-j-hall-sculpture-park%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://art.nelson-atkins.org/objects/21761/seated-woman;jsessionid=1B892C99F27DD589A49600490663BC7D">"Seated Woman"</a>. <i>art.nelson-atkins.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=art.nelson-atkins.org&rft.atitle=Seated+Woman&rft_id=https%3A%2F%2Fart.nelson-atkins.org%2Fobjects%2F21761%2Fseated-woman%3Bjsessionid%3D1B892C99F27DD589A49600490663BC7D&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://catalogue.henry-moore.org/collections/16952/nelsonatkins-museum-of-art-kansas-city">"Nelson-Atkins Museum of Art, Kansas City – Collections – Henry Moore Artwork Catalogue"</a>. <i>catalogue.henry-moore.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=catalogue.henry-moore.org&rft.atitle=Nelson-Atkins+Museum+of+Art%2C+Kansas+City+%E2%80%93+Collections+%E2%80%93+Henry+Moore+Artwork+Catalogue&rft_id=https%3A%2F%2Fcatalogue.henry-moore.org%2Fcollections%2F16952%2Fnelsonatkins-museum-of-art-kansas-city&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-88"><span class="mw-cite-backlink"><b><a href="#cite_ref-88">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://art.nelson-atkins.org/people/2189/-/objects/images?page=3">"Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art"</a>. <i>art.nelson-atkins.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 July</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=art.nelson-atkins.org&rft.atitle=Works+%E2%80%93+Henry+Spencer+Moore+%E2%80%93+Artists%2FMakers+%E2%80%93+The+Nelson-Atkins+Museum+of+Art&rft_id=https%3A%2F%2Fart.nelson-atkins.org%2Fpeople%2F2189%2F-%2Fobjects%2Fimages%3Fpage%3D3&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-89">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://catalogue.henry-moore.org/search/*/objects/images?filter=classifications:Tapestry&page=2">"Search * (Objects) – Search – Henry Moore Artwork Catalogue"</a>. <i>catalogue.henry-moore.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">5 August</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=catalogue.henry-moore.org&rft.atitle=Search+%2A+%28Objects%29+%E2%80%93+Search+%E2%80%93+Henry+Moore+Artwork+Catalogue&rft_id=https%3A%2F%2Fcatalogue.henry-moore.org%2Fsearch%2F%2A%2Fobjects%2Fimages%3Ffilter%3Dclassifications%3ATapestry%26page%3D2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-90"><span class="mw-cite-backlink"><b><a href="#cite_ref-90">^</a></b></span> <span class="reference-text">"<a class="external text" href="https://collection.britishcouncil.org/html/artist/artist.aspx?id=18427">Henry Moore</a> <a class="external text" href="https://web.archive.org/web/20090131232706/http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427">Archived</a> 31 January 2009 at the <a href="/info/en/?search=Wayback_Machine" title="Wayback Machine">Wayback Machine</a>". Visual Arts Department, British Council. Retrieved on 5 September 2008.</span>
</li>
<li id="cite_note-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-91">^</a></b></span> <span class="reference-text">Berthould, p. 301.</span>
</li>
<li id="cite_note-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-92">^</a></b></span> <span class="reference-text">Berthould, p. 302.</span>
</li>
<li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text">Berthould, p. 397.</span>
</li>
<li id="cite_note-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-94">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.amacad.org/person/henry-spencer-moore">"Henry Spencer Moore"</a>. <i>American Academy of Arts & Sciences</i><span class="reference-accessdate">. Retrieved <span class="nowrap">15 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=American+Academy+of+Arts+%26+Sciences&rft.atitle=Henry+Spencer+Moore&rft_id=https%3A%2F%2Fwww.amacad.org%2Fperson%2Fhenry-spencer-moore&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://search.amphilsoc.org/memhist/search?creator=Henry+Moore&title=&subject=&subdiv=&mem=&year=&year-max=&dead=&keyword=&smode=advanced">"APS Member History"</a>. <i>search.amphilsoc.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">15 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=search.amphilsoc.org&rft.atitle=APS+Member+History&rft_id=https%3A%2F%2Fsearch.amphilsoc.org%2Fmemhist%2Fsearch%3Fcreator%3DHenry%2BMoore%26title%3D%26subject%3D%26subdiv%3D%26mem%3D%26year%3D%26year-max%3D%26dead%3D%26keyword%3D%26smode%3Dadvanced&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text">Chamot, Mary; Farr, Dennis; Butlin, Martin. "<a class="external text" href="https://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1659&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio">Henry Moore OM, CH </a>". From <i>The Modern British Paintings, Drawings and Sculpture, London 1964, II</i>. Reproduced at Tate.org. Retrieved on 21 August 2008.</span>
</li>
<li id="cite_note-97"><span class="mw-cite-backlink"><b><a href="#cite_ref-97">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a class="external text" href="https://www.turnersociety.com/">"The Turner Society"</a>. <i>www.turnersociety.com</i>. 2 December 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">7 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.turnersociety.com&rft.atitle=The+Turner+Society&rft.date=2022-12-02&rft_id=https%3A%2F%2Fwww.turnersociety.com%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text">"<a class="external text" href="https://www.tate.org.uk/servlet/BrowseGroup?cgroupid=999999998">Turner Collection</a>". <a href="/info/en/?search=Tate_Gallery" class="mw-redirect" title="Tate Gallery">Tate Gallery</a>. Retrieved on 9 August 2008.</span>
</li>
<li id="cite_note-ParlNews-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-ParlNews_99-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a class="external text" href="https://www.parliament.uk/business/news/2013/february/conservation-of-henry-moore-sculpture-to-begin/">"Conservation of Henry Moore sculpture to begin"</a>. London. 11 February 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Conservation+of+Henry+Moore+sculpture+to+begin&rft.date=2013-02-11&rft_id=http%3A%2F%2Fwww.parliament.uk%2Fbusiness%2Fnews%2F2013%2Ffebruary%2Fconservation-of-henry-moore-sculpture-to-begin%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
<li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGleadell2012" class="citation news cs1">Gleadell, Colin (13 February 2012). <a class="external text" href="https://www.telegraph.co.uk/culture/art/artsales/9080076/Modern-sales-review-when-Moore-means-more.html">"Modern sales review: when Moore means more"</a>. <i><a href="/info/en/?search=The_Daily_Telegraph" title="The Daily Telegraph">The Telegraph</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 December</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Telegraph&rft.atitle=Modern+sales+review%3A+when+Moore+means+more&rft.date=2012-02-13&rft.aulast=Gleadell&rft.aufirst=Colin&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Fculture%2Fart%2Fartsales%2F9080076%2FModern-sales-review-when-Moore-means-more.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></span>
</li>
</ol></div></div>
<h2><span class="mw-headline" id="Works_cited">Works cited</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=20"title="Edit section: Works cited"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBeckettRussell2003" class="citation book cs1">Beckett, Jane; Russell, Fiona (2003). <i>Henry Moore: Space, Sculpture, Politics</i>. Burlington, Vermont: Ashgate. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-7546-0836-0" title="Special:BookSources/0-7546-0836-0"><bdi>0-7546-0836-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+Space%2C+Sculpture%2C+Politics&rft.place=Burlington%2C+Vermont&rft.pub=Ashgate&rft.date=2003&rft.isbn=0-7546-0836-0&rft.aulast=Beckett&rft.aufirst=Jane&rft.au=Russell%2C+Fiona&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBerthoud2003" class="citation book cs1">Berthoud, Roger (2003). <a class="external text" href="https://books.google.com/books?id=5I2wAAAAIAAJ"><i>The Life of Henry Moore</i></a> (2 ed.). Giles de la Mare. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-1-900357-22-7" title="Special:BookSources/978-1-900357-22-7"><bdi>978-1-900357-22-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Life+of+Henry+Moore&rft.edition=2&rft.pub=Giles+de+la+Mare&rft.date=2003&rft.isbn=978-1-900357-22-7&rft.aulast=Berthoud&rft.aufirst=Roger&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D5I2wAAAAIAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCausey1998" class="citation book cs1">Causey, Andrew (1998). <span class="id-lock-registration" title="Free registration required"><a class="external text" href="https://archive.org/details/sculpturesince190000caus"><i>Sculpture Since 1945</i></a></span>. Oxford: Oxford University Press. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-19-284205-6" title="Special:BookSources/0-19-284205-6"><bdi>0-19-284205-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sculpture+Since+1945&rft.place=Oxford&rft.pub=Oxford+University+Press&rft.date=1998&rft.isbn=0-19-284205-6&rft.aulast=Causey&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fsculpturesince190000caus&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGrohmann1960" class="citation book cs1">Grohmann, Will (1960). <i>The Art of Henry Moore</i>. New York: H. N. Abrams.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Henry+Moore&rft.place=New+York&rft.pub=H.+N.+Abrams&rft.date=1960&rft.aulast=Grohmann&rft.aufirst=Will&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li></ul>
<h2><span class="mw-headline" id="Further_reading">Further reading</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=21"title="Edit section: Further reading"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDarracott1975" class="citation book cs1">Darracott, J. (1975). <i>Henry Moore War Drawings</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore+War+Drawings&rft.date=1975&rft.aulast=Darracott&rft.aufirst=J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFeldman2009" class="citation book cs1">Feldman, Anita (2009). <i>Henry Moore Textiles</i>. Surrey: Lund Humphries. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-1-84822-052-2" title="Special:BookSources/978-1-84822-052-2"><bdi>978-1-84822-052-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore+Textiles&rft.place=Surrey&rft.pub=Lund+Humphries&rft.date=2009&rft.isbn=978-1-84822-052-2&rft.aulast=Feldman&rft.aufirst=Anita&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFeldman2013" class="citation book cs1">Feldman, Anita (2013). <i>Henry Moore: Large Late Forms</i>. London: Gagosian.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+Large+Late+Forms&rft.place=London&rft.pub=Gagosian&rft.date=2013&rft.aulast=Feldman&rft.aufirst=Anita&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFeldman2014" class="citation book cs1">Feldman, Anita (2014). <i>Body & Void: Echoes of Moore in Contemporary Art</i>. Perry Green: The Henry Moore Foundation. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-906909-32-4" title="Special:BookSources/978-0-906909-32-4"><bdi>978-0-906909-32-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Body+%26+Void%3A+Echoes+of+Moore+in+Contemporary+Art&rft.place=Perry+Green&rft.pub=The+Henry+Moore+Foundation&rft.date=2014&rft.isbn=978-0-906909-32-4&rft.aulast=Feldman&rft.aufirst=Anita&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFeldmanPinetMooreBlanchetière2013" class="citation book cs1">Feldman, Anita; Pinet, Hélène; Moore, Mary; Blanchetière, François (2013). <i>Moore Rodin</i>. Perry Green: The Henry Moore Foundation. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-906909-31-7" title="Special:BookSources/978-0-906909-31-7"><bdi>978-0-906909-31-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moore+Rodin&rft.place=Perry+Green&rft.pub=The+Henry+Moore+Foundation&rft.date=2013&rft.isbn=978-0-906909-31-7&rft.aulast=Feldman&rft.aufirst=Anita&rft.au=Pinet%2C+H%C3%A9l%C3%A8ne&rft.au=Moore%2C+Mary&rft.au=Blancheti%C3%A8re%2C+Fran%C3%A7ois&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFeldmanWoodward2011" class="citation book cs1">Feldman, Anita; Woodward, Malcolm (2011). <i>Henry Moore Plasters</i>. London: Royal Academy of Arts. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-1-907533-11-2" title="Special:BookSources/978-1-907533-11-2"><bdi>978-1-907533-11-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore+Plasters&rft.place=London&rft.pub=Royal+Academy+of+Arts&rft.date=2011&rft.isbn=978-1-907533-11-2&rft.aulast=Feldman&rft.aufirst=Anita&rft.au=Woodward%2C+Malcolm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFHedgecoe1998" class="citation book cs1">Hedgecoe, John (1998). <i>A Monumental Vision: The Sculpture of Henry Moore</i>. Collins & Brown. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/1-55670-683-9" title="Special:BookSources/1-55670-683-9"><bdi>1-55670-683-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Monumental+Vision%3A+The+Sculpture+of+Henry+Moore&rft.pub=Collins+%26+Brown&rft.date=1998&rft.isbn=1-55670-683-9&rft.aulast=Hedgecoe&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFKosinski2001" class="citation book cs1">Kosinski, Dorothy, ed. (2001). <i>Henry Moore: Sculpting the 20th Century</i>. New Haven: Yale University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+Sculpting+the+20th+Century&rft.place=New+Haven&rft.pub=Yale+University+Press&rft.date=2001&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMitchinsonFeldman_Bennet2002" class="citation book cs1">Mitchinson, David; Feldman Bennet, Anita (2002). <i>Moore: The Graphics</i>. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-906909-26-0" title="Special:BookSources/0-906909-26-0"><bdi>0-906909-26-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moore%3A+The+Graphics&rft.date=2002&rft.isbn=0-906909-26-0&rft.aulast=Mitchinson&rft.aufirst=David&rft.au=Feldman+Bennet%2C+Anita&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMoore1986" class="citation book cs1">Moore, Henry (1986). <i>Henry Moore: Model to Monument</i>. New York: Kent Fine Art. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/1-878607-21-9" title="Special:BookSources/1-878607-21-9"><bdi>1-878607-21-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+Model+to+Monument&rft.place=New+York&rft.pub=Kent+Fine+Art&rft.date=1986&rft.isbn=1-878607-21-9&rft.aulast=Moore&rft.aufirst=Henry&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFO'ReillyOliver2003" class="citation book cs1">O'Reilly, Sally; Oliver, Clare (2003). <span class="id-lock-registration" title="Free registration required"><a class="external text" href="https://archive.org/details/henrymoore00orei"><i>Henry Moore</i></a></span>. Scholastic Library. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/0-531-16643-0" title="Special:BookSources/0-531-16643-0"><bdi>0-531-16643-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore&rft.pub=Scholastic+Library&rft.date=2003&rft.isbn=0-531-16643-0&rft.aulast=O%27Reilly&rft.aufirst=Sally&rft.au=Oliver%2C+Clare&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhenrymoore00orei&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSeldis1973" class="citation book cs1">Seldis, Henry J. (1973). <span class="id-lock-registration" title="Free registration required"><a class="external text" href="https://archive.org/details/henrymooreinamer00seld"><i>Henry Moore in America</i></a></span>. Praeger. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/978-0-87587-054-0" title="Special:BookSources/978-0-87587-054-0"><bdi>978-0-87587-054-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore+in+America&rft.pub=Praeger&rft.date=1973&rft.isbn=978-0-87587-054-0&rft.aulast=Seldis&rft.aufirst=Henry+J.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhenrymooreinamer00seld&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSylvester1968" class="citation book cs1">Sylvester, David (1968). <i>Henry Moore</i>. London: Arts Council of Great Britain.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore&rft.place=London&rft.pub=Arts+Council+of+Great+Britain&rft.date=1968&rft.aulast=Sylvester&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation book cs1"><i>Henry Moore: At Dulwich Picture Gallery</i>. Scala. 2004. <a href="/info/en/?search=ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/info/en/?search=Special:BookSources/1-85759-352-9" title="Special:BookSources/1-85759-352-9"><bdi>1-85759-352-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Henry+Moore%3A+At+Dulwich+Picture+Gallery&rft.pub=Scala&rft.date=2004&rft.isbn=1-85759-352-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHenry+Moore" class="Z3988"></span></li></ul>
<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection">
<a role="button"
href="https://en.wikipedia.org/?title=Henry_Moore&action=edit&section=22"title="Edit section: External links"
class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet ">
<span class="minerva-icon minerva-icon--edit"></span>
<span>edit</span>
</a>
</span>
</h2>
<style data-mw-deduplicate="TemplateStyles:r1217611005">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:#f9f9f9;display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style>
<div class="side-box-flex">
<div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div>
<div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Henry_Moore" class="extiw" title="commons:Henry Moore"><span style="font-style:italic; font-weight:bold;">Henry Moore</span></a>.</div></div>
</div>
<ul><li><a class="external text" href="https://www.henry-moore.org">Henry Moore Foundation website</a></li>
<li><a class="external text" href="https://www.imj.org.il/en/search/site/Moore%20and%20+Henry">Henry Moore collection</a> at the Israel Museum.</li>
<li><a class="external text" href="https://www.sculpture.org/documents/scmag01/julaug01/moore/moore.shtml">"The Enigma of Henry Moore"</a> by Brian McAvera. <i>Sculpture Magazine</i>, July/August 2001: Vol. 20, No. 6.</li>
<li><a class="external text" href="https://news.bbc.co.uk/1/hi/entertainment/arts_and_culture/8529691.stm">BBC article with archive film of Moore at work</a></li>
<li><a class="external text" href="https://www.tate.org.uk/art/artworks?aid=1659">3D model of <i>Recumbent Figure</i> (1938)</a> from Tate</li>
<li><a class="external text" href="https://www.unesco.org/artcollection/DetailAction.do?&idOeuvre=1547&nouvelleLangue=en">The UNESCO Works of Art Collection</a></li>
<li><a class="external text" href="https://www.wsj.com/articles/SB10001424052748703465204575208340440165122?mod=WSJ_LifeStyle_Lifestyle_5">An Intimate Moore, Tom Freudenheim, <i>The Wall Street Journal</i>, 30 June 2010</a></li>
<li><a class="external text" href="https://web.archive.org/web/20120927064721/http://www.kew.org/henry-moore/">Henry Moore at Kew, 2007</a></li></ul>
<div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><style data-mw-deduplicate="TemplateStyles:r1061467846">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}</style></div><div role="navigation" class="navbox" aria-labelledby="Henry_Moore" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3" style="background:#aaa; color:white;"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1063604349">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/info/en/?search=Template:Henry_Moore" title="Template:Henry Moore"><abbr title="View this template" style=";background:#aaa; color:white;;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/info/en/?search=Template_talk:Henry_Moore" title="Template talk:Henry Moore"><abbr title="Discuss this template" style=";background:#aaa; color:white;;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a href="/info/en/?search=Special:EditPage/Template:Henry_Moore" title="Special:EditPage/Template:Henry Moore"><abbr title="Edit this template" style=";background:#aaa; color:white;;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Henry_Moore" style="font-size:114%;margin:0 4em"><a class="mw-selflink selflink">Henry Moore</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#aaa; color:white;"><a href="/info/en/?search=List_of_sculptures_by_Henry_Moore" title="List of sculptures by Henry Moore">Sculptures</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=List_of_sculptures_by_Henry_Moore" title="List of sculptures by Henry Moore">List of sculptures</a></li>
<li><i><a href="/info/en/?search=Four-Piece_Composition:_Reclining_Figure" title="Four-Piece Composition: Reclining Figure">Four-Piece Composition: Reclining Figure</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure_1938" title="Reclining Figure 1938">Reclining Figure 1938</a></i></li>
<li><i><a href="/info/en/?search=Recumbent_Figure_1938" title="Recumbent Figure 1938">Recumbent Figure 1938</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure_1939" title="Reclining Figure 1939">Reclining Figure 1939</a></i></li>
<li><i><a href="/info/en/?search=Three_Standing_Figures_1947" title="Three Standing Figures 1947">Three Standing Figures 1947</a></i></li>
<li><i><a href="/info/en/?search=Family_Group_(Moore)" title="Family Group (Moore)">Family Group</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure:_Festival" title="Reclining Figure: Festival">Reclining Figure: Festival</a></i></li>
<li><i><a href="/info/en/?search=King_and_Queen_(sculpture)" title="King and Queen (sculpture)">King and Queen</a></i></li>
<li><i><a href="/info/en/?search=Draped_Reclining_Figure,_1952%E2%80%9353" title="Draped Reclining Figure, 1952–53">Draped Reclining Figure, 1952–53</a></i></li>
<li><i><a href="/info/en/?search=Large_Interior_Form,_1953%E2%80%9354" title="Large Interior Form, 1953–54">Large Interior Form, 1953–54</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure:_External_Form_1953%E2%80%931954" title="Reclining Figure: External Form 1953–1954">Reclining Figure: External Form 1953–1954</a></i></li>
<li><i><a href="/info/en/?search=Upright_Motive_No._1:_Glenkiln_Cross" title="Upright Motive No. 1: Glenkiln Cross">Upright Motive No. 1: Glenkiln Cross</a></i></li>
<li><i><a href="/info/en/?search=Seated_Woman,_1957" title="Seated Woman, 1957">Seated Woman, 1957</a></i></li>
<li><i><a href="/info/en/?search=Draped_Seated_Woman_1957%E2%80%9358" title="Draped Seated Woman 1957–58">Draped Seated Woman 1957–58</a></i></li>
<li><i><a href="/info/en/?search=Draped_Reclining_Woman_1957%E2%80%9358" title="Draped Reclining Woman 1957–58">Draped Reclining Woman 1957–58</a></i></li>
<li><i><a href="/info/en/?search=UNESCO_Reclining_Figure_1957%E2%80%9358" title="UNESCO Reclining Figure 1957–58">UNESCO Reclining Figure 1957–58</a></i></li>
<li><i><a href="/info/en/?search=Standing_Figure:_Knife_Edge" title="Standing Figure: Knife Edge">Standing Figure: Knife Edge</a></i></li>
<li><i><a href="/info/en/?search=Large_Torso,_Arch" title="Large Torso, Arch">Large Torso, Arch</a></i></li>
<li><i><a href="/info/en/?search=Knife_Edge_Two_Piece_1962%E2%80%9365" title="Knife Edge Two Piece 1962–65">Knife Edge Two Piece 1962–65</a></i></li>
<li><i><a href="/info/en/?search=Three-Piece_Reclining_Figure_No._2:_Bridge_Prop" title="Three-Piece Reclining Figure No. 2: Bridge Prop">Three-Piece Reclining Figure No. 2: Bridge Prop</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure_(Lincoln_Center)" title="Reclining Figure (Lincoln Center)">Reclining Figure (Lincoln Center)</a></i></li>
<li><i><a href="/info/en/?search=Three_Way_Piece_No.1:_Points" title="Three Way Piece No.1: Points">Three Way Piece No.1: Points</a></i></li>
<li><i><a href="/info/en/?search=Three_Way_Piece_No.2:_Archer" title="Three Way Piece No.2: Archer">Three Way Piece No.2: Archer</a></i></li>
<li><i><a href="/info/en/?search=Locking_Piece" title="Locking Piece">Locking Piece</a></i></li>
<li><i><a href="/info/en/?search=Man_Enters_the_Cosmos" title="Man Enters the Cosmos">Man Enters the Cosmos</a></i></li>
<li><i><a href="/info/en/?search=Two-Piece_Reclining_Figure_No._9" title="Two-Piece Reclining Figure No. 9">Two-Piece Reclining Figure No. 9</a></i></li>
<li><i><a href="/info/en/?search=Nuclear_Energy_(sculpture)" title="Nuclear Energy (sculpture)">Nuclear Energy</a></i></li>
<li><i><a href="/info/en/?search=Spindle_Piece" title="Spindle Piece">Spindle Piece</a></i></li>
<li><i><a href="/info/en/?search=Three-Piece_No._3:_Vertebrae_(Working_Model)" title="Three-Piece No. 3: Vertebrae (Working Model)">Three-Piece No. 3: Vertebrae (Working Model)</a></i></li>
<li><i><a href="/info/en/?search=Three_Piece_Sculpture:_Vertebrae" title="Three Piece Sculpture: Vertebrae">Three Piece Sculpture: Vertebrae</a></i></li>
<li><i><a href="/info/en/?search=Oval_with_Points" title="Oval with Points">Oval with Points</a></i></li>
<li><i><a href="/info/en/?search=Large_Two_Forms" title="Large Two Forms">Large Two Forms</a></i></li>
<li><i><a href="/info/en/?search=Reclining_Figure_1969%E2%80%9370" title="Reclining Figure 1969–70">Reclining Figure 1969–70</a></i></li>
<li><i><a href="/info/en/?search=Two-Piece_Reclining_Figure:_Points" title="Two-Piece Reclining Figure: Points">Two-Piece Reclining Figure: Points</a></i></li>
<li><i><a href="/info/en/?search=Large_Arch" title="Large Arch">Large Arch</a></i></li>
<li><i><a href="/info/en/?search=Sheep_Piece_1971%E2%80%9372" title="Sheep Piece 1971–72">Sheep Piece 1971–72</a></i></li>
<li><i><a href="/info/en/?search=Large_Four_Piece_Reclining_Figure_1972%E2%80%9373" title="Large Four Piece Reclining Figure 1972–73">Large Four Piece Reclining Figure 1972–73</a></i></li>
<li><i><a href="/info/en/?search=Hill_Arches_1973" title="Hill Arches 1973">Hill Arches 1973</a></i></li>
<li><i><a href="/info/en/?search=Goslar_Warrior_1973%E2%80%931974" title="Goslar Warrior 1973–1974">Goslar Warrior 1973–1974</a></i></li>
<li><i><a href="/info/en/?search=Three-Piece_Reclining_Figure:_Draped_1975" title="Three-Piece Reclining Figure: Draped 1975">Three-Piece Reclining Figure: Draped 1975</a></i></li>
<li><i><a href="/info/en/?search=The_Arch_1979%E2%80%931980" title="The Arch 1979–1980">The Arch 1979–1980</a></i></li></ul>
</div></td><td class="noviewer navbox-image" rowspan="5" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/info/en/?search=File:Oval_with_Points.jpg" class="mw-file-description"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/90px-Oval_with_Points.jpg" decoding="async" width="90" height="113" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/135px-Oval_with_Points.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Oval_with_Points.jpg/180px-Oval_with_Points.jpg 2x" data-file-width="1200" data-file-height="1500" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#aaa; color:white;">Assistants</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=Reg_Butler" title="Reg Butler">Reg Butler</a></li>
<li><a href="/info/en/?search=Anthony_Caro" title="Anthony Caro">Anthony Caro</a></li>
<li><a href="/info/en/?search=Robert_Clatworthy_(sculptor)" title="Robert Clatworthy (sculptor)">Robert Clatworthy</a></li>
<li><a href="/info/en/?search=Phillip_King_(artist)" class="mw-redirect" title="Phillip King (artist)">Phillip King</a></li>
<li><a href="/info/en/?search=Philip_McCracken" title="Philip McCracken">Philip McCracken</a></li>
<li><a href="/info/en/?search=Bernard_Meadows" title="Bernard Meadows">Bernard Meadows</a></li>
<li><a href="/info/en/?search=Lenton_Parr" title="Lenton Parr">Lenton Parr</a></li>
<li><a href="/info/en/?search=Ron_Robertson-Swann" title="Ron Robertson-Swann">Ron Robertson-Swann</a></li>
<li><a href="/info/en/?search=Stephen_Walker_(sculptor)" title="Stephen Walker (sculptor)">Stephen Walker</a></li>
<li><a href="/info/en/?search=Richard_Wentworth_(artist)" title="Richard Wentworth (artist)">Richard Wentworth</a></li>
<li><a href="/info/en/?search=Isaac_Witkin" title="Isaac Witkin">Isaac Witkin</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#aaa; color:white;">Associated with</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=Barbara_Hepworth" title="Barbara Hepworth">Barbara Hepworth</a></li>
<li><a href="/info/en/?search=Unit_One" title="Unit One">Unit One</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#aaa; color:white;">Supporters</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=Kenneth_Clark" title="Kenneth Clark">Kenneth Clark</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:#aaa; color:white;">Institutions</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=Henry_Moore_Foundation" title="Henry Moore Foundation">Henry Moore Foundation</a></li></ul>
</div></td></tr></tbody></table></div>
<div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1061467846"></div><div role="navigation" class="navbox" aria-labelledby="Unit_One" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1063604349"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/info/en/?search=Template:Unit_One" title="Template:Unit One"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/info/en/?search=Template_talk:Unit_One" title="Template talk:Unit One"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a href="/info/en/?search=Special:EditPage/Template:Unit_One" title="Special:EditPage/Template:Unit One"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Unit_One" style="font-size:114%;margin:0 4em"><a href="/info/en/?search=Unit_One" title="Unit One">Unit One</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/info/en/?search=John_Armstrong_(artist)" title="John Armstrong (artist)">John Armstrong</a></li>
<li><a href="https://en.wikipedia.org/?title=John_Bigge_(painter)&action=edit&redlink=1" class="new" title="John Bigge (painter) (page does not exist)">John Bigge</a></li>
<li><a href="/info/en/?search=Edward_Burra" title="Edward Burra">Edward Burra</a></li>
<li><a href="/info/en/?search=Wells_Coates" title="Wells Coates">Wells Coates</a></li>
<li><a href="/info/en/?search=Barbara_Hepworth" title="Barbara Hepworth">Barbara Hepworth</a></li>
<li><a href="/info/en/?search=Tristram_Hillier" title="Tristram Hillier">Tristram Hillier</a></li>
<li><a href="/info/en/?search=Frances_Hodgkins" title="Frances Hodgkins">Frances Hodgkins</a></li>
<li><a href="https://en.wikipedia.org/?title=Colin_Lucas_(architect)&action=edit&redlink=1" class="new" title="Colin Lucas (architect) (page does not exist)">Colin Lucas</a></li>
<li><a class="mw-selflink selflink">Henry Moore</a></li>
<li><a href="/info/en/?search=Paul_Nash_(artist)" title="Paul Nash (artist)">Paul Nash</a></li>
<li><a href="/info/en/?search=Ben_Nicholson" title="Ben Nicholson">Ben Nicholson</a></li>
<li><a href="/info/en/?search=Edward_Wadsworth" title="Edward Wadsworth">Edward Wadsworth</a></li></ul>
</div></td></tr></tbody></table></div>
<style data-mw-deduplicate="TemplateStyles:r1130094686">.mw-parser-output .sister-bar{display:flex;justify-content:center;align-items:baseline;font-size:88%;background-color:#fdfdfd;border:1px solid #a2a9b1;clear:both;margin:1em 0 0;padding:0 2em}.mw-parser-output .sister-bar-header{margin:0 1em 0 0.5em;padding:0.2em 0;flex:0 0 auto;min-height:24px;line-height:22px}.mw-parser-output .sister-bar-content{display:flex;flex-flow:row wrap;flex:0 1 auto;align-items:baseline;padding:0.2em 0;column-gap:1em;margin:0;list-style:none}.mw-parser-output .sister-bar-item{display:flex;align-items:baseline;margin:0.15em 0;min-height:24px;text-align:left}.mw-parser-output .sister-bar-logo{width:22px;line-height:22px;margin:0 0.2em;text-align:right}.mw-parser-output .sister-bar-link{margin:0 0.2em;text-align:left}@media screen and (max-width:960px){.mw-parser-output .sister-bar{flex-flow:column wrap;margin:1em auto 0}.mw-parser-output .sister-bar-header{flex:0 1}.mw-parser-output .sister-bar-content{flex:1;border-top:1px solid #a2a9b1;margin:0;list-style:none}.mw-parser-output .sister-bar-item{flex:0 0 20em;min-width:20em}}.mw-parser-output .navbox+link+.sister-bar,.mw-parser-output .navbox+style+.sister-bar,.mw-parser-output .portal-bar+link+.sister-bar,.mw-parser-output .portal-bar+style+.sister-bar,.mw-parser-output .sister-bar+.navbox-styles+.navbox,.mw-parser-output .sister-bar+.navbox-styles+.portal-bar{margin-top:-1px}</style><div class="noprint metadata sister-bar" role="navigation" aria-label="sister-projects"><div class="sister-bar-header"><b>Henry Moore</b> at Wikipedia's <a href="/info/en/?search=Wikipedia:Wikimedia_sister_projects" title="Wikipedia:Wikimedia sister projects"><span id="sister-projects" style="white-space:nowrap;">sister projects</span></a>:</div><ul class="sister-bar-content"><li class="sister-bar-item"><span class="sister-bar-logo"><span typeof="mw:File"><span><img alt="" src="https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/14px-Commons-logo.svg.png" decoding="async" width="14" height="19" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/21px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/28px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></span><span class="sister-bar-link"><b><a href="https://commons.wikimedia.org/wiki/Category:Henry_Moore" class="extiw" title="c:Category:Henry Moore">Media</a></b> from Commons</span></li><li class="sister-bar-item"><span class="sister-bar-logo"><span typeof="mw:File"><span><img alt="" src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/16px-Wikiquote-logo.svg.png" decoding="async" width="16" height="19" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/24px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/32px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></span></span></span><span class="sister-bar-link"><b><a href="https://en.wikiquote.org/wiki/Henry_Moore" class="extiw" title="q:Henry Moore">Quotations</a></b> from Wikiquote</span></li><li class="sister-bar-item"><span class="sister-bar-logo"><span typeof="mw:File"><span><img alt="" src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/21px-Wikidata-logo.svg.png" decoding="async" width="21" height="12" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/32px-Wikidata-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/42px-Wikidata-logo.svg.png 2x" data-file-width="1050" data-file-height="590" /></span></span></span><span class="sister-bar-link"><b><a href="https://www.wikidata.org/wiki/Q151097" class="extiw" title="d:Q151097">Data</a></b> from Wikidata</span></li></ul></div>
<div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1061467846"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q151097#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q151097#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/info/en/?search=Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q151097#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://id.worldcat.org/fast/31241/">FAST</a></span></li>
<li><span class="uid"><a class="external text" href="https://isni.org/isni/000000011023655X">ISNI</a></span></li>
<li><span class="uid"><a class="external text" href="https://viaf.org/viaf/32000652">VIAF</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://authority.bibsys.no/authority/rest/authorities/html/90175441">Norway</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.bncatalogo.cl/F?func=direct&local_base=red10&doc_number=000089630">Chile</a></span></li>
<li><span class="uid"><a class="external text" href="https://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX847322">Spain</a></span></li>
<li><span class="uid"><a class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb11916701s">France</a></span></li>
<li><span class="uid"><a class="external text" href="https://data.bnf.fr/ark:/12148/cb11916701s">BnF data</a></span></li>
<li><span class="uid"><a class="external text" href="https://cantic.bnc.cat/registre/981058581197006706">Catalonia</a></span></li>
<li><span class="uid"><a class="external text" href="https://d-nb.info/gnd/118583875">Germany</a></span></li>
<li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Moore, Henry"><a class="external text" href="https://opac.sbn.it/nome/CFIV012495">Italy</a></span></span></li>
<li><span class="uid"><a class="external text" href="https://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007265541505171">Israel</a></span></li>
<li><span class="uid"><a class="external text" href="https://id.loc.gov/authorities/n79018152">United States</a></span></li>
<li><span class="uid"><a class="external text" href="https://libris.kb.se/b8nrwbxv1vgmcvg">Sweden</a></span></li>
<li><span class="uid"><a class="external text" href="https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000219422&P_CON_LNG=ENG">Latvia</a></span></li>
<li><span class="uid"><a class="external text" href="https://id.ndl.go.jp/auth/ndlna/00450428">Japan</a></span></li>
<li><span class="uid"><a class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jn20000701261&CON_LNG=ENG">Czech Republic</a></span></li>
<li><span class="uid"><a class="external text" href="https://nla.gov.au/anbd.aut-an36110250">Australia</a></span></li>
<li><span class="uid"><a class="external text" href="https://data.nlg.gr/resource/authority/record84806">Greece</a></span></li>
<li><span class="uid"><a class="external text" href="https://katalog.nsk.hr/F/?func=direct&doc_number=000133102&local_base=nsk10">Croatia</a></span></li>
<li><span class="uid"><a class="external text" href="https://data.bibliotheken.nl/id/thes/p068867093">Netherlands</a></span></li>
<li><span class="uid"><a class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810675803105606">Poland</a></span></li>
<li><span class="uid"><a class="external text" href="https://id.bnportugal.gov.pt/aut/catbnp/99315">Portugal</a></span></li>
<li><span class="uid"><a class="external text" href="https://wikidata-externalid-url.toolforge.org/?p=8034&url_prefix=https://opac.vatlib.it/auth/detail/&id=495/113040">Vatican</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://ci.nii.ac.jp/author/DA01681821?l=en">CiNii</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://www.aucklandartgallery.com/explore-art-and-ideas/artist/2055/">Auckland</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.adk.de/de/akademie/mitglieder/?we_objectID=54102">ADK</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.agsa.sa.gov.au/collection-publications/collection/creators/_/3174/">South Australia</a></span></li>
<li><span class="uid"><a class="external text" href="https://kulturnav.org/5a348adc-d9c6-4c80-9d3f-28429cd6a098">KulturNav</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.moma.org/artists/4071">Museum of Modern Art</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.gallery.ca/collection/artist/henry-moore">National Gallery of Canada</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.ngv.vic.gov.au/explore/collection/artist/738/">Victoria</a></span></li>
<li><span class="uid"><a class="external text" href="https://pic.nypl.org/constituents/26709">Photographers' Identities</a></span></li>
<li><span class="uid"><a class="external text" href="https://rkd.nl/en/explore/artists/57529">RKD Artists</a></span></li>
<li><span class="uid"><a class="external text" href="https://collections.tepapa.govt.nz/agent/24934">Te Papa (New Zealand)</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500032596">ULAN</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://www.deutsche-biographie.de/pnd118583875.html?language=en">Deutsche Biographie</a></span></li>
<li><span class="uid"><a class="external text" href="https://trove.nla.gov.au/people/1213866">Trove</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a class="external text" href="https://snaccooperative.org/ark:/99166/w6wm1gp7">SNAC</a></span></li>
<li><span class="uid"><a class="external text" href="https://www.idref.fr/027036669">IdRef</a></span></li></ul>
</div></td></tr></tbody></table></div></div>' |