Resource Pack - Yorkshire Sculpture Park

HENRY MOORE
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Resource Pack
BIOGRAPHY
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Henry Moore, the seventh of eight children of Raymond Spencer Moore and his wife Mary, was born in
the small coalmining town of Castleford, Yorkshire, on 30 July 1898. Moore attended infant and elementary
schools in his hometown, and entered Castleford Secondary School via a scholarship when he was eleven
years old.
He was determined to sit the examinations for a scholarship to the local art college, but his father, ever
a practical man, thought that he should follow an elder sister into the teaching profession. After a brief
introduction as a student teacher, Moore began teaching full-time at his old school in Castleford.
He enlisted at the age of eighteen and presently joined the 15th Battalion The London Regiment, known
as the Civil Service Rifles. Shortly afterwards he was sent to France, where he and his regiment took part
in the battle of Cambrai. Moore's active participation in the war ceased when he was gassed; he was sent
back to spend two months in hospital.
Moore went back to his teaching post in Castleford, but he now knew that teaching in school was not for
him. He applied for and received an ex-serviceman's grant to attend Leeds School of Art. At the end of his
second year he won a scholarship to the Royal College of Art in London.
In 1924 Moore was appointed as sculpture instructor at the Royal College. It was there that he met Irina
Radetsky, a painting student at the college, whom he married a year later. The couple lived in Hampstead,
where they mingled with many aspiring young artists and writers, including Ben Nicholson, Barbara
Hepworth, Stephen Spender and Herbert Read.
Moore now became involved in the art life of London. His first commission, received in 1928, was
to produce a sculpture relief for the newly opened Headquarters of London Transport at St James's
Underground building. His first one-man exhibition, which consisted of forty-two sculptures and fifty
-one drawings, opened at the Warren Gallery in 1928.
In the 1930s came three more one-man shows, all at the Leicester Galleries. Moore also participated in
major group exhibitions of the time. In 1931 he exhibited three works in the Plastik exhibition in Zurich. In
1936 Moore signed the manifesto urging the end of a policy of non-intervention in Spain. He attempted to
go to Republican Spain as part of a delegation of English artists and writers, but their request for permission
to travel was rejected by the British Government. In 1940 their Hampstead home was damaged by a nearby
bomb, and the Moores rented a house in Perry Green, a small hamlet in Hertfordshire, forty kilometres north
of London. Here the artist would remain for the rest of his life.
In the early 1940s he had begun to make drawings of people sheltering from air-raids in the London
Underground. These drawings, together with those he made subsequently in the coalmines, are
considered among his greatest achievements.
His daughter Mary was born in 1946, the year of his first foreign retrospective exhibition, at the Museum
of Modern Art, New York. Demands for exhibitions of his work began to increase, both in number and in
scale. In 1972 came the Florence exhibition, the largest and most impressive to that date. A gift of over
two hundred sculptures and drawings and a complete collection of graphics was made to the Art Gallery
of Ontario in 1974. Over thirty major pieces and another collection of graphics went to The Tate Gallery
in 1978. Other gifts have included drawings to the British Museum and graphic work to the Victoria and
Albert Museum and the British Council in London.
A few years before his death in 1986 Moore gave the whole estate at Perry Green with its studios, houses,
cottages and collection of work to the Trustees of the Henry Moore Foundation to administer in perpetuity,
charging them with the allocation of grants, bursaries and scholarships to promote sculpture within the
cultural life of the country.
CV
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Born in Castleford, Yorkshire, England, 1898
Studied at Leeds School of Art, 1919 – 1921
Studied at Royal College of Art, 1921 – 1924
Died in Much Hadham, Hertfordshire, England, 1986
Selected exhibitions
2015
Wolfson College, University of Cambridge, ‘Henry Moore Photographer’, Cambridge, England
Waddesdon Manor, ‘Henry Moore: 100 Drawings – King and Queen’, Buckinghamshire, England
Fundacio ‘La Caixa’, ‘Henry Moore: Arte en la Calle’, Malaga, Spain (Travels to Santander, Burgos
and Pamplona)
Yorkshire Sculpture Park, ‘Henry Moore: Back to Land’, West Bretton, England
Gagosian Gallery, ‘Henry Moore: Wunderkammer –Origin of Forms’, London, England
Zentrum Paul Klee, ‘Henry Moore’, Bern, Switzerland
2014
Leeds Art Gallery Collections, ‘Figure and Architecture. Henry Moore in the 1950s’, Leeds, England
Art Gallery of Ontario, ‘Francis Bacon and Henry Moore: Terror and Beauty’, Ontario, Canada
Compton Verney, ‘Moore Rodin’, Warwickshire, England
The Hepworth Wakefield, ‘Henry Moore: Reclining Figures’, Wakefield, England
Tate Britain, ‘Kenneth Clark – Looking for Civilisation’, Tate Britain, London, England
Kunstsammlung Nordrhein-Westfalen, ‘Beneath the Ground: From Kafka to Kippenberger’, Düsseldorf,
Germany
Akademie-Galerie, Kunstakademie Düsseldorf, ‘Tracing the Process of Invention – Sculptors Draw’,
Dusseldorf, Germany
Harewood House, ‘Henry Moore at Harewood’, Leeds, England
Wilhelm-Hack Museum, ‘hackordnung #5 FormFRElheit’, Ludwigshafen am Rhein, Germany
Sprengel Museum, ‘Those Early Years: British and German Art after 1945’, Hannover, Germany
Museo Nacional Del Prado, ‘El Greco and Modern Painting’, Madrid, Spain
Sheep Field Barn Gallery, Henry Moore Foundation, ‘Body and Void: Echoes of Moore in Contemporary
Art’, Perry Green, England
Centre Pompidou-Metz, ‘Simple Shapes’, Paris, France
Pallant House Gallery, ‘Conscience and Conflict: British Artists and the Spanish Civil War’, Chichester,
England
2013
Rijksmuseum, ‘Henry Moore Outside’, Amsterdam, The Netherlands
The Henry Moore Foundation Perry Green, ‘Moore Rodin’, Hertfordshire, England
The Ashmolean Museum, ‘Francis Bacon/Henry Moore’, Oxford, England
Norton Simon Museum of Art, ‘Beyond Brancusi: The Space of Sculpture’, Pasadena CA
Museumlandschaft Hessen, ‘Neu gesehen’, Kassel, Germany
Palazzo Reale, ‘Critique and Crisis: Art in Europe since 1945’, Milan, Italy
Kumu Art Museum, ‘Critique and Crisis: Art in Europe since 1945’, Tallinn, Estonia
Kunsthalle Mannheim, ‘NUR SKULPTUR!’, Mannheim, Germany
Martin Gropius Bau, ‘From Beckmann to Warhol. 20th and 21st century art. The Bayer Collection’, Berlin,
Germany
Carré d’Art, ‘Moving. Norman Foster on Art’, Nimes, France
2012
V&A Museum of Childhood, ‘Modern British Childhood 1948-2012’, London, England
Deutsches Historisches Museum, ‘Critique and Crisis: Art in Europe since 1945’, Berlin, Germany
Fundación Juan March, ‘Treasure Island: British Art from Holbein to Hockney’, Madrid, Spain
Royal Academy of Arts, ‘Bronze’, London, England
Gagosian Gallery, ‘Henry Moore: Late Large Forms’, London, England
Museum für Neue Kunst, ‘Linie und Skulptur im Dialog’, Freiburg, Germany
Scottish National Gallery of Modern Art, ‘Picasso and Modern British Art’, Edinburgh, Scotland
Tate Britain, ‘Picasso and Modern British Art’, London, England
MoMA Museum of Modern Art, ‘Figure in the Garden’, New York NY
Tate Liverpool, ‘DLA Piper Series: This is Sculpture’, Liverpool, England
Museum Ludwig, ‘Before the Law: Post-War Sculpture and Spaces of Contemporary Art’, Cologne,
Germany
The Royal Society, ‘Intersections: Henry Moore and Stringed Surfaces’, London, England
Manifesta 9, ‘The Deep of the Modern’, Genk, Limburg, Belgium
The Henry Moore Foundation Perry Green, ‘Henry Moore: Plasters’, Hertfordshire, England
Kunsthaus Kaufbeuren, ‘Nationalgalerie Berlin zu Gast. Kleinplastiken aus der Sammlung’, Kaufbeuren,
Germany
Musée d’art de Joliette, ‘Centuries of Images’, Joliette, Canada
Kunsthalle im Lipsiusbau, Staatliche Kunstsammlung, ‘In the Network of Modernism’, Dresden, Germany
2011
Kremlin Museum, Moscow, Russia
Leeds Art Gallery, Leeds, England
Henry Moore Institute, ‘Henry Moore: Prints and Portfolios’, Leeds, England
The Henry Moore Foundation, ‘Henry Moore: Plasters’, Perry Green, England
Hatfield House, ‘Moore at Hatfield’, Hatfield, England
State Hermitage Museum, ‘Henry Moore. Drawings’, St. Petersburg, Russia
State Hermitage Museum, ‘Henry Moore. Sculpture’, St. Petersburg, Russia
2010
The Baltimore Museum of Art, ‘Advancing Abstraction in Modern Sculpture’, Baltimore MD
Museum Würth, ’75/65. The Collector, the Company and Its Collection’, Kunzelsau, Germany
Museum Lothar Fischer, ‘Henry Moore – Natur und Figur’, Neumarkt, Germany
Hauser & Wirth Zürich, ‘Works on Paper from the Henry Moore Family Collection’, Zurich, Switzerland
Denver Botanical Gardens, ‘Moore in the Gardens’, Denver CO (Travelling Exhibition)
Tate Britain, London, England
Bowdoin College Museum of Art, ‘Henry Moore – The Drawings’, Brunswick ME
Musée Rodin, ‘Henry Moore, l’atelier: sculptures et dessins’, Paris, France
Art Gallery of Ontario, ‘The Shape of Anxiety: Henry Moore in the 1930s’ Ontario, Canada
2009
Pallant House Gallery, ‘Henry Moore Textiles’, Chichester, England (Travelling Exhibition)
Hoglands, ‘Henry Moore Textiles’, Perry Green, Hertfordshire, England (Travelling Exhibition)
Atlanta Botanical Garden, ‘Moore in America’, Atlanta GA (Travelling Exhibition)
2008
Hauser & Wirth London, ‘Henry Moore. Ideas for Sculpture’, London, England
Figge Art Museum, ‘Mother and Child: Henry Moore’s West Dean Tapestries’, Davenport IA
The New York Botanical Garden, ‘Moore in America’, New York NY (Travelling Exhibition)
Royal Botanic Gardens, ‘Moore at Kew’, London, England
Didrichsen Art Museum, ‘Henry Moore and the Challenge of Architecture’, Helsinki, Finland
2007
British Council, ‘Henry Moore: The Printmaker’, Moscow, Russia
Henry Moore Institute, ‘Figuring Space: Sculpture/Furniture from Mies to Moore’, Leeds, England
Perry Green, Sheep Field Barn, ‘Henry Moore Textiles’, Herfordshire, England (Travelling Exhibition)
Dovecot Studios, ‘Henry Moore Textiles’, Edinburgh, Scotland (Travelling Exhibition)
Haus am Waldsee, ‘Henry Moore und die Landschaft’, Berlin, Germany (Travelling Exhibition)
Opelvillen Rüsselsheim, ‘Henry Moore und die Landschaft’, Russelsheim, Germany (Travelling Exhibition)
Perry Green, Sheep Field Barn, ‘Moore and Mythology’, Hertfordshire, England (Travelling Exhibition)
Museé Bourdelle, ‘Moore and Mythology’, Paris, France (Travelling Exhibition)
2006
Wakefield Art Gallery, ‘Henry Moore: Unseen’, Wakefeld, England
Imperial War Museum, ‘Henry Moore: War and Utility’, London, England
Caixa Forum, Barcelona, Spain
Tate Liverpool, ‘Henry Moore: Natural Forms’, Liverpool, England
Kunsthal, ‘Henry Moore: Sculptur en architectur’, Rotterdam, Netherlands
2005
Perry Green: Sheep Field Barn, ‘Henry Moore and the Challenge of Architecture’, Herfordshire, England
Museo Dolores Olmedo Patiño ‘Moore y Mexico’, Mexico City, Mexico (Travelling Exhibition)
MARCO – Museo de Arte Contemporáneo, ‘Moore y Mexico’, Monterrey, Mexico (Travelling Exhibition)
New Art Centre, Roche Court, ‘Henry Moore Tapestries’, East Winterslow, England
Rhodes Museum, ‘Henry Moore: The Elephant Skull’, Bishops Stortford, England
Kunsthalle Würth, ‘Henry Moore: Epoch und Echo’, Schwäbisch Hall, Germany
Pinacoteca do Estado de São Paulo, ‘Henry Moore: Uma Retrospectiva’, São Paulo, Brazil (Travelling
Exhibition)
Paço Imperial, ‘Henry Moore: Uma Retrospectiva’, Rio de Janeiro, Brazil (Travelling Exhibition)
Frederik Meijer Gardens and Sculpture Park, ‘Henry Moore: Imaginary Landscapes’, Grand Rapids MI
(Travelling Exhibition)
2004
Sager Street, ‘Castleford’s Son: Shaping Henry Moore’, Castleford, England
Town Hall and Charlseton, ‘Henry Moore: Land and Sea’, Lewes, England (Travelling Exhibition)
Chateau Musèe de Dieppe, ‘Henry Moore: Land and Sea’, Dieppe, France (Travelling Exhibition)
National Glypthoteque, ‘Henry Moore: A Retrospective’, Athens, Greece
Stadtische Galerie, ‘Henry Moore: Menschliche Landschaften’, Wolfsburg, Germany
Dulwich Picture Gallery, London, England
Hazlitt Holland Hibbert, ‘Henry Moore: Master Drawings’, London, England (Travelling Exhibition)
Hazlitt Holland Hibbert, ‘Henry Moore: Master Drawings’, New York NY (Travelling Exhibition)
Hakone Open Air Museum, ‘Henry Moore: The Expanse of Nature: The Nature of Man’, Hakone, Japan
Marlborough Fine Art, ‘Moore: Monumental Sculpture’, New York NY
Artists’ Union, ‘Henry Moore: Graphics’, Ashgabat, Turkmenistan
Royal Cambrian Academy of Art, ‘Moore: The Graphics’, Conwy, England (Travelling Exhibition)
Glebe House and Gallery, ‘Moore: The Graphics’, Letterkenny, Ireland (Travelling Exhibition)
2003
Wingfield Arts, ‘Moore: The Graphics’, Diss, England (Travelling Exhibition)
Falmouth Art Gallery, ‘Moore: The Graphics’, Falmouth, England (Travelling Exhbibition)
John Creasey Museum, ‘Moore: The Graphics’, Salisbury, England (Travelling Exhibition)
Wakefield Art Gallery, ‘Moore: The Graphics’, Wakefield, England (Travelling Exhibition)
Perry Green, Sheep Field Barn, ‘Henry Moore: Imaginary Landscapes’, Hertfordshire, England (Travelling
Exhibition)
Tate Modern, ‘Henry Moore: Public Sculpture’, London, England
Ashford Library Gallery, ‘Henry Moore Photography’, Ashford, England (Travelling Exhibition)
Fleur de Lis Gallery, ‘Henry Moore Photography’, Faversham, England (Travelling Exhibition)
Kawamura Memorial Museum of Art, ‘Henry Moore: A Living Presence’, Sakura, Japan (Travelling Exhibition)
Ashikaga Museum of Art, ‘Henry Moore: A Living Presence’, Ashikaga, Japan (Travelling Exhibition)
Takamatsu City Museum of Art, ‘Henry Moore: A Living Presence’, Takamatsu, Japan (Travelling Exhibition)
Kagoshima City Museum of Art, ‘Henry Moore: A Living Presence’, Kagoshima, Japan (Travelling Exhibition)
California Palace of the Legion of Honour, ‘Henry Moore’s Sheep Piece’, San Francisco CA
Tate Britain, ‘Henry Moore in the 1940s’, London, England
Kunstmuseum Wolfsburg, ‘From Blast to Freeze: British Art in the 20th Century’, Wolfsburg, Germany
(Travelling Exhibition)
Les Abattoirs – Musèe d’Art Contemporain, ‘From Blast to Freeze: British Art in the 20th Century’, Toulouse,
France (Travelling Exhibition)
2002
Musèe des Beaux Arts, ‘Henry Moore: Heads Figures and Ideas’, Valenciennes, France
Herford Museum, ‘Scribble, Blot or Smudge: Mother and Child Etchings by Henry Moore’, Hereford, England
Fondation Maeght, ‘Henry Moore: Retrospective’, St. Paul de Vence, France
Museum of New Zealand Te Papa Tongarewa, ‘Henry Moore: Journey through Form’, Wellington, New
Zealand
Perry Green, Sheep Field Barn, ‘Henry Moore: War and Utility’, Herfordshire, England
2001
Dallas Museum of Art, ‘Henry Moore: Sculpting the 20th Century’, Dallas TX (Travelling Exhibition)
California Palace of the Legion of Honour, ‘Henry Moore: Sculpting the 20th Century’, San Francisco CA
(Travelling Exhibition)
National Gallery of Art, ‘Henry Moore: Sculpting the 20th Century’, Washington DC (Travelling Exhibition)
Tate Modern, ‘Henry Moore: Atom Piece in Focus’, London, England
Beihai Park, ‘Moore in China’, Beijing, China (Travelling Exhibition)
Shanghai Art Museum, ‘Moore in China’, Shanghai, China (Travelling Exhibition)
2000
China Art Gallery, ‘Moore in China’, Beijing, China (Travelling Exhibition)
Guandong Museum of Art, ‘Moore in China’, Guangzhou, China (Travelling Exhibition)
Basil and Elise Goulandris Foundation Museum of Modern Art, ‘Henry Moore: In the Light of Greece’,
Andros, Greece
1999
Perry Green, Sheep Field Barn, ‘Henry Moore: Thoughts and Practices’, Herefordshire, England
The Pump House Gallery, ‘Henry Moore: Photographs’, London, England
Kunsthalle Recklinghausen, ‘Henry Moore: Liegende’, Recklinghausen, Germany
Ville de Luxembourg, ‘Henry Moore in Luxembourg’ Luxembourg, Luxembourg
Openluchtmuseum voor Beelddhouwkunst, ‘Henry Moore: Sculpturen’, Middelheim, Belgium
Museum van Hedendaagse Kunst, ‘Henry Moore, Drawings 1922 – 1982’, Antwerp, Belgium
Yale Center for British Art, ‘Henry Moore and the Heroic: A Centenary Tribute’, New Haven CT
1998
Kettle’s Yard, ‘Carving Mountains: Modern Stone Sculpture in England 1907-1937’, Cambridge, England
(Travelling Exhibition)
De la Warr Pavillion, ‘Carving Mountains: Modern Stone Sculpture in England 1907-1937’, Bexhill-on-Sea,
England (Travelling Exhibition)
Sainsbury Centre for the Vsual Arts, ‘Moore in Mexico’, Norwich, England
Sainsbury Centre fort he Visual Arts, ‘Henry Moore: Friendship and Influence’, Norwich, England
Imperial War Museum, ‘Henry Moore: Shelter Drawings and Sculpture, London, England
William S Fairfield Gallery, ‘Henry Moore: Mother and Child’, Wisconsin WI
Hirshhorn Museum and Sculpture Garden, ‘ Henry Moore: Stringed Figures’, Washington DC
Wakefield Art Gallery, ‘Photographs by Henry Moore’, Wakefield, England
Tate Gallery, ‘Henry Moore in the Duveen Galleries’, London, England
British Museum, ‘Henry Moore and the British Museum’, London, England
National Gallery, ‘Henry Moore and the National Gallery’, London, England
Philadelphia Museum of Art, ‘Henry Moore, a Centennial Salute’, Philadelphia PA
Yorkshire Sculpture Park, ‘Henry Moore in Perspective’, West Bretton, England (Travelling Exhibition)
Castle Museum, ‘Henry Moore in Perspective’, Nottingham, England (Travelling Exhibition)
City Museum and Art Gallery, ‘Henry Moore in Perspective’, Bristol, England (Travelling Exhibition)
University of Northumbria, ‘Henry Moore in Perspective’, Newcastle, England (Travelling Exhibition)
Art Gallery and Museum, ‘Henry Moore in Perspective’, Brighton, England (Travelling Exhibition)
Kunsthistorisches Museum, Palais Harrach, ‘Henry Moore (1898-1986): Eine Retrospektive zum 100.
Geburtstag’, Vienna, Austria
1997
Gerhard Marcks Haus, ‘Henry Moore: Animals’, Bremen, Germany (Travelling Exhibition)
Georg Kolbe Museum, ‘Henry Moore: Animals’, Berlin, Germany (Travelling Exhibition)
Städtische Museen, ‘Henry Moore: Animals’, Heilbronn, Germany (Travelling Exhibition)
Triple Gallery, ‘Henry Moore Graphics’, Berne, Switzerland
Centro Wifredo Lam, ‘Henry Moore: Hacia el Futuro’, Havana, Cuba (Travelling Exhibition)
Museo Nacional de Colombia, ‘Henry Moore: Hacia el Futuro’, Bogota, Colombia (Travelling Exhibition)
Museo Nacional de Bellas Artes, ‘Henry Moore: Hacia el Futuro’, Buenos Aires, Argentina (Travelling
Exhibition)
Museo Nacional de Artes Visuales, ‘Henry Moore: Hacia el Futuro’, Montevideo, Uruguay (Travelling
Exhibition)
Museo Nacional de Bellas Artes, ‘Henry Moore: Hacia el Futuro’, Santiago, Chile (Travelling Exhibition)
1996
Berkeley Square Gallery, ‘Henry Moore Drawings’, London, England
Museo Nacional de Bellas Artes, ‘Henry Moore: Internal/External’, Buenos Aires, Argentina (Travelling
Exhibition)
Centro Cultural Parque de Espana, ‘Henry Moore: Internal/External’, Rosario, Argentina (Travelling Exhibition)
Centro Cultural Villa Victoria, ‘Henry Moore: Internal/External’, Mar del Plata, Argentina (Travelling Exhibition)
Museo Provincial de Bellas Artes Emilio Caraffa, ‘Henry Moore: Internal/External’, Cordoba, Argentina
(Travelling Exhibition)
Museo Nacional de Bellas Artes, ‘Henry Moore: Internal/External’, Montevideo, Uruguay (Travelling
Exhibition)
The Poetry Society, ‘Moore Lithographs, Australiaden Poems’, London, England
Redfern Gallery, London, England
Musée des Beaux Arts, ‘Henry Moore: From the Inside Out’, Nantes, France
1995
Galleria D’Arte Moderna, ‘Henry Moore: Gli Ultimi 10 Anni’ Bologna, Italy
Fondazione Cini, ‘Henry Moore: sculture, disegni, incisioni, arazzi’, Venice, Italy
BWA Gallery, ‘Henry Moore – Retrospektywa’, Cracow, Poland (Travelling Exhibition)
Centre for Contemporary Art, ‘Henry Moore – Retrospektywa’, Warsaw, Poland (Travelling Exhibition)
Pan Pan Art Space, ‘ Henry Moore’, Taipei, Taiwan
Yorkshire Sculpture Park, ‘Henry Moore in Yorkshire’, Bretton, England
1994
Reuchlinhaus, ‘Henry Moore: Ethos und Form’, Pforzheim, Germany
Kulturhaus, ‘Giacometti, Marini, Moore, Wotruba’, Graz, Austria
Kunstmuseum des Kantons Thurgau, Kartause Ittingen, ‘Henry Moore: Shelter Drawings’, Thurgau, Switzerland (Travelling Exhibition)
1993
Musée du Touquet, ‘Henry Moore: Oeuvre gravé, sculptures’, Le Touquet, France (Travelling Exhibition)
Burton Art Gallery and Museum, ‘Henry Moore: Oeuvre gravé, sculptures’, Bideford, England (Travelling
Exhibition)
Chesil Gallery, ‘Henry Moore and the Sea’, Chiswell, England (Travelling Exhibition)
Pallant House, ‘Henry Moore and the Sea’, Chichester, England (Travelling Exhibition)
The School House Gallery, ‘Henry Moore and the Sea’, Wighton, England (Travelling Exhibition)
Art Gallery, ‘Henry Moore and the Sea’, Scarborough, England (Travelling Exhibition)
Aldeburgh Cinema, ‘Henry Moore and the Sea’, Aldeburgh, England (Travelling Exhibiton)
Pier Art Centre, ‘Henry Moore and the Sea’, Stromness, England (Travelling Exhibition)
Royal Museum and Art Gallery, ‘Henry Moore and the Sea’, Canterbury, England (Travelling Exhibition)
Pace Gallery, ‘Henry Moore: A Sculptor’s Drawings’, New York NY
Galerie Utermann, ‘Henry Moore: Bronzen und Zeichnungen’, Dortmund, Germany
Szépmüvészeti Muzeum, ‘Henry Moore’, Budapest, Hungary (Travelling Exhibition)
Mirbach Palace, Palffy Palace, ‘Henry Moore’, Bratislava, Slovakia (Travelling Exhibition)
Stredosceska Galerie, Karolinum, ‘Henry Moore’, Prague, Czech Republic (Travelling Exhibition)
1992
Didier Imbert Fine Art, ‘Henry Moore Intime’, Paris, France (Travelling Exhibition)
Sezon Museum of Art, ‘Henry Moore Intime’, Tokyo, Japan (Travelling Exhibition)
Municipal Museum of Art, ‘Henry Moore Intime’, Kitakyushu, Japan (Travelling Exhibition)
City Museum of Contemporary Art, ‘Henry Moore Intime’, Hiroshima, Japan (Travelling Exhibition)
Prefectural Museum of Art, ‘Henry Moore Intime’, Oita, Japan (Travelling Exhibition)
Marlborough Graphics, ‘Henry Moore: Etchings and Lithographs’, London, England
Galerie Arenthon, ‘Henry Moore: Graveur’, Paris, France
Berkeley Square Gallery, ‘Henry Moore: Figure Studies 1931-1984, Prints and Sculpture’, London, England
Waddington Galleries, London, England
Parc du Bagatelle, Bois de Boulogne, ‘Moore à Bagatelle’, Paris, France
Kathe Kollwitz Museum, ‘Henry Moore: Mother and Child’, Cologne, Germany (Travelling Exhibition)
Schloss Cappenberg, ‘Henry Moore: Mother and Child’, Kreis Unna, Germany (Travelling Exhibition)
Kunstkreis Norden, ‘Henry Moore: Mother and Child’, Norden, Germany (Travelling Exhibition)
Ernst Barlach Museum, ‘Henry Moore: Mother and Child’, Ratzeburg, Germany (Travelling Exhibition)
City Art Gallery, ‘Henry Moore: Mother and Child’, Huddersfield, England (Travelling Exhibition)
Art Gallery of New South Wales, Sydney, Australia
1991
Espace Wafabank, Casablanca MA
Villa di Parco Bertone, ‘Zoo di Catra: Mostra Grafica di Henry Moore’, Mantua, Italy
Madrid: Galeria Estiarte, ‘Henry Moore: Obra Grafica’, Madrid, Spain
Marlborough Graphics, ‘Henry Moore: Etchings and Lithographs’, London, England
Hong Kong Arts Centre, ‘Henry Moore: Graphic Work 1973-1982’, Hong Kong
Benois Museum, Petrodvorets, ‘Henry Moore Etchings & Lithographs 1949 – 1984’, Leningrad, Russia
(Travelling Exhibition)
State Pushkin Museum of Fine Art, ‘Henry Moore Etchings & Lithographs 1949 – 1984’, Mosow, Russia
(Travelling Exhibition)
Helsingin kaupungin taidemuseo, ‘Henry Moore Etchings & Lithographs 1949 – 1984’, Helsinki, Finland
(Travelling Exhibition)
Galleri Cassandra, ‘Henry Moore: Skulptur, tegning, grafika’, Drobak, Norway
Stephen Solovy Fine Art, Chicago IL
Nicosia, ‘Henry Moore: Mother and Child’, Nicosia, Cyprus
1990
Art Gallery of Ontario, ‘Henry Moore’s Animals’, Toronto, Canada
Centre of Arts, Zamalek, ‘Henry Moore: Mother and Child Etchings and Small Sculpture’, Couro, Brazil
Rex Irwin, ‘Henry Moore 1898-1986: A Tribute’, Woollahra, Australia
South Bank Centre, ‘Henry Moore: Sketch-Models and Working-Models’, London, England
Maeght, ‘Henry Moore: Mother and Child Portfolio’, Paris, France
Grob Gallery, ‘Henry Moore: Prométhée Sketchbook’, London, England
Contemporary Sculpture Center, ‘Henry Moore: Mother and Child Etchings’, Tokyo, Japan
Museum and Art Gallery, ‘Like the Face of the Moon: The Art of Discovery’, Bolton, England (Travelling
Exhibition)
City Museum and Art Gallery, ‘Like the Face of the Moon: The Art of Discovery’, Stoke on Trent, England
(Travelling Exhibition)
Mead Gallery, ‘Like the Face of the Moon: The Art of Discovery’, Coventry, England (Travelling Exhibition)
Glynn Vivian Art Gallery, ‘Like the Face of the Moon: The Art of Discovery’, Swansea, Wales (Travelling
Exhibition)
British Council exhibition touring the United Arab Emirates, ‘Henry Moore Mother and Child Etchings’,
United Arab Emirates
Museo de Bellas Artes de Bilbao, Balbao, Spain
Gerhard Wurzer Gallery, ‘Henry Moore: Mother and Child Portfolios’, Houston TX
Arts Council of Great Britain Tour, England
Pollok Park, ‘Henry Moore in Pollok Park’, Glasgow, Scotland
Scottish Lowland Galleries, ‘Henry Moore – Sculptor at Work’, Glasgow,
Scotland
Cultural Capital of Europe Exhibitions, ‘Henry Moore in Scotland’, Glasgow, Scotland
1989
British Council exhibition touring South East Asia, ‘Henry Moore Etchings and Lithographs 1949-84’,
South East Asia
British Council, ‘Henry Moore: Etchings, Lithographs’, London, England
Museo de Arte Contempéraneo, ‘Henry Moore: Grabados de los Portfolios 1950-1981’, Caracas, Venezuela
Berkeley Square Gallery, ‘Henry Moore: Mother and Child Portfolio’, London, England
Les Art International, ‘Homage to Henry Moore’, Johannesburg, South Africa
Castello Sforzesco, ‘Henry Moore at Castello Sforzesco’, Milan, Italy
Fondation Pierre Gianadda, Martigny, Switzerland
University of Tennesse, ‘The Elephant Skull and Stonehenge: Henry Moore Prints and Barry Brukoff
Photographs’, Knoxville TN (Travelling Exhibition)
1988
British Museum, ‘Henry Moore: The Shelter Drawings’, London, England
Fischer Fine Art, ‘Henry Moore 1898-1986: Sculpture and Drawings’, London, England
Northern Illinois University Art Gallery, ‘The Elephant Skull and Stonehenge: Henry Moore Prints and Barry
Brukoff Photographs’, Chicago IL (Travelling Exhibition)
New Art Centre, ‘Henry Moore Sculpture and Drawings’, London, England
Les Art International, ‘Henry Moore 1898-1986’, Johannesburg, South Africa
Centre Nationale d’Exposition, ‘Chefs d’Oeuvres Tirés des Carnets de Henry Moore’, Quebec, Canada
New Art Centre, ‘Henry Moore Sculpture and Drawings’, London, England
Marlborough Fine Art, ‘Henry Moore 1898-1986: Four Monumental Sculptures’, London, England
Galerie Jahrhunderthalle, ‘Henry Moore: Druckgraphik 1931-1980’, Hoechst, Germany (Travelling Exhibition)
Städtische Sammlung Ringenberg, ‘Henry Moore: Druckgraphik 1931-1980’, Ringenberg, Germany (Travelling
Exhibition)
Derik-Baegert-Gesellschaft, ‘Henry Moore: Druckgraphik 1931-1980’, Duisburg, Germany (Travelling
Exhibition)
Bernard Jacobson Gallery, ‘Henry Moore: Late Drawings’, London, England
CCA Galleries, ‘Henry Moore and His Generation’, London, England
CCA Galleries, ‘Henry Moore Maquettes’, London, England
Fine Art Society, ‘Henry Moore and Michael Rosenauer’, London, England
National Gallery of Zimbabwe, ‘Henry Moore: Etchings and Lithographs 1949-1984’, Harare, Zimbabwe
(Travelling Exhibition)
Bulawayo Art Gallery’Henry Moore: Etchings and Lithographs 1949-1984’, Bulawayo, Zimbabwe (Travelling
Exhibition)
Lillian Heidenberg Gallery, ‘Henry Moore: Sculpture, Drawings, Graphics’, New York NY
Royal Academy of Arts, London, England
1987
Hofstra Museum, ‘Mother and Child: The Art of Henry Moore’ Hempstead NY (Travelling Exhibition)
Museum of Art, ‘Mother and Child: The Art of Henry Moore’, Baltimore MD (Travelling Exhibition)
Arthur Ross Gallery, University of Pennsylvania. ‘Mother and Child: The Art of Henry Moore’, Pennsylvania
PA (Travelling Exhibition)
Art Gallery of Ontario, ‘Henry Moore Remembered’, Toronto, Canada
Government Museum and Art Gallery, ‘Henry Moore: Working Model Bronzes and Graphics’, Chandigarh,
India (Travelling Exhibition)
Jehangir Art Gallery, ‘Henry Moore: Working Model Bronzes and Graphics’, Mumbai, India (Travelling
Exhibition)
MS University Faculty of Fine Arts Gallery, ‘Henry Moore: Working Model Bronzes and Graphics’, Baroda,
India (Travelling Exhibition)
Roopankar Bharat Bhavan, ‘Henry Moore: Working Model Bronzes and Graphics’, Bhopal, India (Travelling
Exhibition)
Lalit Kala Academi, ‘Henry Moore: Working Model Bronzes and Graphics’, Madras, India (Travelling Exhibition)
Chitrakala Parishath, ‘Henry Moore: Working Model Bronzes and Graphics’, Bangalore, India (Travelling
Exhibition)
Birla Academi, ‘Henry Moore: Working Model Bronzes and Graphics’, Calcutta, India (Travelling Exhibition)
Lalit Kala Academi, ‘Henry Moore: Working Model Bronzes and Graphics’, Jaipur, India (Travelling Exhibition)
David Fildeman Gallery, Hofstra University, ‘Henry Moore and Surrealism’, Hempstead NY
Marlborough Fine Art, ‘A Tribute to Henry Moore’, London, England
Flanders Contemporary Art, ‘A Tribute to Henry Moore’, London, England
Minneapolis Flanders, ‘Contemporary Art, Henry Moore: Prints, Drawings, Sculpture’, Minneapolis MN
Alex Rosenberg Gallery, ‘Henry Moore 1898-1986’, New York NY
CCA Galleries, ‘An Exhibition of Henry Moore’s Lithographs and Etchings’, London, England
CCA Galleries, London, England
National Gallery of Modern Art, ‘Henry Moore in India’, New Delhi, India
Yorkshire Sculpture Park, ‘Henry Moore and Landscape’, West Bretton, England
London: Fischer Fine Art, ‘Homage to Henry Moore 1898-1986/A Tribute to Sculpture 1877-1987’, London,
England
Galerie am Lindenplatz, ‘Henry Moore: Skulpturen und Grafik’, Schaan, Lithuania
Didrichsenin Taidemuseo, ‘Henry Moore in Memoriam’, Helsinki, Finland
Louis Newman Galleries, ‘Henry Moore: Works on Paper’, Beverly Hills CA
Palazzo Vecchio, ‘Henry Moore: Opera dal 1972 al 1984’, Florence, Italy
Castlefield Gallery, ‘Henry Moore: An Exhibition of Sculptures and Graphics’, Manchester, England
Lumley Cazalet, ‘Henry Moore: Lithographs, Etchings and Woodcuts 1931-1982’, London, England
Alex Rosenberg Gallery, ‘Henry Moore Print Exhibition’, New York NY
‘Henry Moore: 70th Anniversary of the Battle of Cambrai’, Cambrai, France
Robert Brown Contemporary Art, ‘Henry Moore: Graphic Work’, Washington DC
Nelson-Atkins Museum of Art, ‘Henry Moore: Maquettes and Working Models’, Kansas City MO
1986
Akron Art Museum, ‘Henry Moore 1898-1986’, Akron OH
Alisan Fine Arts, ‘Henry Moore: Drawings, Graphics and Bronze Sculptures’, Hong Kong
Goodman Gallery, Sandton, South Africa
Art Gallery of Ontario, ‘Henry Moore: Shelter Sketch-Book Portfolio’, Toronto, Canada
Marlborough Graphics Gallery, ‘Henry Moore: Nudes’, London, England
University of Chicago, ‘Henry Moore: Drawings, Graphics, Sculptures’, Chicago IL
Weintraub Gallery, ‘Moore: A Major Exhibition of Sculpture, Drawings and Prints’, New York NY
Galerie Patrick Cramer, ‘Henry Moore: Sculptures, Gravures, Lithographies’, Geneva, Switzerland
Door County Library, ‘Henry Moore 1898-1986: A Retrospective Collection’, Sturgeon Bay WI
Centro Dantesco dei Frati Minori Conventuali, ‘Moore: Scultura, Disegni e Grafica’, Ravenna, Italy
Nan Miller Gallery, ‘Henry Moore: Graphics, Sculptures and Drawings’, Rochester NY
David and Alfred Smart Gallery, ‘Henry Moore: Drawings, Prints, Sculpture’, Chicago IL
Picton Castle Trust, Graham, Kathleen Sutherland Foundation, Haverfordwest, England
Kent Fine Art, ‘Henry Moore: Model to Monument’, New York NY
Pallant House Gallery, Chichester, England
Metropolitan Art Museum, ‘The Art of Henry Moore’, Tokyo, Japan (Travelling Exhibition)
Art Museum, ‘The Art of Henry Moore’, Fukuoka, Japan (Travelling Exhibition)
City Art Museum, Arts Centre, Academy for the Performing Arts, ‘The Art of Henry Moore’, Hong Kong
(Travelling Exhibition)
1985
John Berggruen Gallery, ‘Henry Moore: Sculpture and Drawings’, San Francisco CA
Bank of Ireland Exhibition Hall, ‘Henry Moore Graphics’, Dublin, Ireland
Museum of Modern Art, ‘Henry Moore’s Photographs of His Sculpture’, San Francisco CA
James Goodman Gallery, ‘Henry Moore: Drawings and Watercolors 1949-1976’, New York NY
Dorsky Gallery, ‘Henry Moore: Sculpture, Drawings, Lithographs’, New York NY
Waddington Galleries, London, England
Natalie Knight Gallery, ‘The Eye of the Sculptor: Henry Moore’, Johannesburg, South Africa
Mekler Gallery, ‘Henry Moore: Sculptures, Drawings, Graphics’, Cambridge MA
Castle Museum, Saffron Walden, England
Pinacothèque Nationale Musée Alexandre Soutzos, Tokyo, Japan
BP Gallery, Antwerp, Belgium
University of Essex, ‘Henry Moore Shelter Sketchbook’, Colchester, England (Travelling Exhibition)
Hatton Gallery, ‘The Art of Henry Moore’, Newcastle upon Tyne, England (Travelling Exhibition)
1984
Art Gallery of Ontario, ‘Henry Moore from the Collection of the Art Gallery of Ontario’, Toronto, Canada
Columbus Museum of Art, ‘Henry Moore: The Reclining Figure’, Columbus OH (Travelling Exhibition)
Archer M. Huntington Gallery, ‘Henry Moore: The Reclining Figure’, Austin TX (Travelling Exhibition)
Utah Museum of Fine Art, University of Utah, ‘Henry Moore: The Reclining Figure’, Salt Lake City UT
(Travelling Exhibition)
Portland Art Museum, ‘Henry Moore: The Reclining Figure’, Portland OR (Travelling Exhibition)
Museum of Modern Art, ‘Henry Moore: The Reclining Figure’, San Francisco CA (Travelling Exhibition)
Skulpturenmuseum Glaskasten, ‘Henry Moore: Mutter und Kind’, Marl, Germany
IBM Shimin Bunka Gallery, Kasahara, Japan
Maeght Lelong, ‘Henry Moore: Das Graphische Werk 1977-1982’, Zurich, Switzerland
Art Museum, ‘Henry Moore: Selections from the Virginia and George Ablah Collection’, Wichita KS
Schumacher Gallery, Columbus OH
American Crafts Gallery, Cleveland OH
Bernard Jacobson Gallery, ‘Henry Moore (Animals), London, England
Georgetown Graphics, ‘Henry Moore at Georgetown Graphics’, Washington DC
Museo Carlos Pellicer, ‘Henry Moore: Obra Grafica’, Tabasco MX
Printmakers Workshop Gallery, ‘Henry Moore: Recent Graphics’, Edinburgh, England
Suzanne Gross Gallery, ‘Henry Moore: Original Lithographs and Etchings’, Philadelphia PA
Alex Rosenberg Gallery, ‘Henry Moore: Recent Work, Sculpture and Graphics’, New York NY
Cunningham Memorial Art Gallery, Henry Moore, Bakersfield CA
L’Espace Oscar Niemeyer, ‘Henry Moore: Sculptures, Dessins, Gravures’, Le Havre, France
Christie’s Contemporary Art, ‘Henry Moore: 30 Years of Graphics’, London, England
Kunstmuseum, ‘Henry Moore: Skulptur, Tegning Grafik fra de Sidste Tyve år’, Herning, Denmark
Exeter University, ‘Henry Moore: Graphic Work 1931-1980’, Exeter, England
Hotel Ritz and Galería Sesimbra, ‘Henry Moore: Obra Gráfica’, Lisbon, Portugal
City Art Galleries, ‘Henry Moore: Sculpture in the Making’, Leeds, England
Crewe and Alsager College, Alsager Art Gallery, ‘Henry Moore Recent Works 1972-1982’, Crewe, England
Art Forum, Singapore, Singapore
Galerie Maeght, ‘Henry Moore’, Zurich, Switzerland (Travelling Exhibition)
Galerie Maeght, ‘Henry Moore’, Paris, France (Travelling Exhibition)
Stiftung Landis and Gyr, ‘Henry Moore: Graphik 1977-1982’, Zug, Switzerland
Weintraub Gallery, New York NY
Nathan Silberberg Gallery, ‘Henry Moore in New York’, New York NY
Marlborough Fine Art, London, England
Nationalgalerie der Staatlichen Museen, ‘Henry Moore: Shelter and Coal Mining Drawings 1939-1942’, Berlin,
Germany (Travelling Exhibition)
Museum der Bildenden Künste, ‘Henry Moore: Shelter and Coal Mining Drawings 1939-1942’, Leipzig,
Germany (Travelling Exhibition)
Staatliche Galerie Moritzburg, ‘Henry Moore: Shelter and Coal Mining Drawings 1939-1942’, Halle, Germany
(Travelling Exhibition)
Kupferstichkabinett der Staatlichen Kunstsammlungen, ‘Henry Moore: Shelter and Coal Mining Drawings
1939-1942’, Dresden, Germany (Travelling Exhibition)
Gallery Kasahara, ‘Henry Moore 5’, Osaka, Japan
1983
Langley Community School, Rochdale, England
Museo de Arte Contemporaneo, ‘Henry Moore: Esculturas, Dibujos, Grabados’, Caracas, Venezuela
El Centro de Bellas Artes, ‘Henry Moore: Esculturas y Gráficas Originales 1969/1979’, Maracaibo, Venezuela
(Travelling Exhibition)
Museo de Barquisimeto, ‘Henry Moore: Esculturas y Gráficas Originales 1969/1979’, Barquisimeto, Venezuela
(Travelling Exhibition)
Museo gran Mariscal de Ayacucho, ‘Henry Moore: Esculturas y Gráficas Originales 1969/1979’, Cumaná,
Venezuela (Travelling Exhibition)
Museo de Arte Contemporaneo, ‘Henry Moore: Esculturas y Gráficas Originales 1969/1979’, Porlamar,
Venezuela (Travelling Exhibition)
Museo de Arte Moderno, ‘Henry Moore: Esculturas y Gráficas Originales 1969/1979’, Mérida, Venezuela
(Travelling Exhibition)
Metropolitan Museum of Art, ‘Henry Moore: 60 Years of His Art’, New York NY
Mestna Galerija, ‘Henry Moore: Grafika’, Ljubljana, Slovenia (Travelling Exhibition)
Kabinet Grafike JAZU, ‘Henry Moore: Grafika’, Zagreb, Croatia (Travelling Exhibition)
Umetnicki Paviljon, ‘Henry Moore: Grafika’, Belgrade, Serbia (Travelling Exhibition)
Umetnicki Galerija, ‘Henry Moore: Grafika’, Skopje, Macedonia (Travelling Exhibition)
Collegium Artisticum, ‘Henry Moore: Grafika’, Sarajevo, Bosnia (Travelling Exhibition)
Transworld Art, ‘Moore: The New Work’, New York NY (Travelling Exhibition)
Newhouse Gallery, ‘Moore: The New Work’, Staten Island NY (Travelling Exhibition)
Paul Anglim Gallery, Royston, England
Galerie Maeght, Paris, France
Due Ci, ‘Henry Moore: Opera su carta’, Rome, Italy
Marlborough Fine Art, ‘Henry Moore: 85th Birthday Exhibition’, London, England
Curwen Gallery, London, England
Basel Art Fair (John Cavaliero), Basel, Switzerland
International Exhibitions Foundation, ‘Henry Moore: A New Dimension’, Washington DC
Arts Centre, Folkestone, England
Tate Gallery, ‘Henry Moore at 85’, London, England
Central Gallery, ‘Moore: The New Work’, London, England
Castle Grounds, Winchester, England
Playhouse Gallery, ‘Henry Moore: An Exhibition of Lithographs and Etchings’, Salisbury, England
Sammenslutningen af Danske Kunstforeninger, ‘Henry Moore: Grafiske Arbejder’, Copenhagen, Denmark
Dumfries and Galloway Arts Festival, Dumfries, England
Hyandae Gallery, Sagan-Dong, Korea
Barbican Centre, ‘Henry Moore: Wood Sculpture’, London, England
Richard Gray Gallery, ‘Henry Moore: Maquettes and Drawings’, Chicago IL
Galerie Beaumont (Christie’s Contemporary Art), ‘Henry Moore: Sculptures et Estampes’, Lasne, Belgium
Blue Hill Estate, ‘Henry Moore Sculptures from the Ablah Collection’, Pearl River NY
Academy of Arts, Honolulu HI
Galería Quintana, Bogotá, Colombia
Henie-Onstad Kunstsenter, Oslo, Norway
Hokin Gallery, ‘Henry Moore: Drawings and Sculpture’, Palm Beach FL
Bank of America World Headquarters, ‘Henry Moore: Drawings, Graphics and Maquettes’, San Francisco CA
Weintraub Gallery, New York NY
Dominion Gallery, ‘Henry Moore: Sculptures and Drawings’, Montreal CA
Weintraub Gallery, ‘Homage to Henry Moore’, New York NY
Storm King Art Center, ‘Henry Moore Sculpture Exhibition’, Mountainville NY
Langley Furrow Gallery, Middleton, England
Galerie Düsseldorf, ‘Henry Moore: Major Lithographs and Etchings 1969-1982’, Perth, Australia
William Beadleston, ‘Henry Moore: Some Recent Drawings’, New York NY
Bohun Gallery, ‘Henry Moore: Small Sculpture and Graphics’, Henley-on-Thames, England
Donau-Einkaufszentrum, ‘Henry Moore: Graphik’, Regensburg, Germany
Central Gallery, ‘Moore: The New Work’, Osaka, Japan
James Goodman Gallery, ‘Henry Moore: Sculpture and Drawings’, New York NY
Galerie Dorothea van der Koelen, ‘Henry Moore: Radierungen, Lithografien’, Mainz, Germany
I.M. Cohen Graphic Gallery, Jerusalem, Israel
Dolly Fiterman Gallery, Minneapolis MN
Brody Gallery, ‘Henry Moore: Graphics’, Washington DC
Christie’s Contemporary Art, ‘Henry Moore: Sculpture, Graphics and Drawings’, New York NY
Associated American Artists, ‘Henry Moore: A Survey of Graphics’, New York NY
Hong Kong Arts Centre, ‘Henry Moore Graphic Works’, Hong Kong, China
Redfern Gallery, Ascher Textiles, London, England
1982
Museu d’Art Modern, ‘Henry Moore: Grabados’, Tarragona, Spain (Travelling Exhibition)
Sala de la Caixa de Barcelona/Lerida, ‘Henry Moore: Grabados’, Barcelona, Spain (Travelling Exhibition)
Universidad de Malaga, ‘Henry Moore: Grabados’, Malaga, Spain (Travelling Exhibition)
Obra Cultural del Monte de Piedad y Caja de Ahorras de Cordoba, ‘Henry Moore: Grabados’, Cordoba, Spain
(Travelling Exhibition)
Palacio de la Madraza, ‘Henry Moore: Grabados’, Granada, Spain (Travelling Exhibition)
Obra Cultural de la Caja de Ahorros de Asturias/Gijon, ‘Henry Moore: Grabados’, Granada, Spain (Travelling
Exhibition)
Caja de Ahorros y Monte de Piedad de León, ‘Henry Moore: Grabados’, Léon, Spain (Travelling Exhibition)
Casa de Cultura de Zamora, ‘Henry Moore: Grabados’, Zamora, Spain (Travelling Exhibition)
Scottish Arts Council, ‘Henry Moore Sculpture’, England
Christie’s Contemporary Art, New York NY
Weintraub Gallery, New York NY
Fine Arts Center, ‘Henry Moore: The Drawings’, Colorado Springs CO
Playhouse Gallery, Harlow, England
Tasende Gallery, ‘Exhibitions of Drawings and Sculpture by Henry Moore’, La Jolla CA
Durham Light Infantry Museum and Arts Centre, Henry Moore: Head-Helmet, Durham, England
Fischer Fine Art, London, England
Palazzo Ancaiani, ‘Moore a Spoleto’, Spoleto, Italy
Galleria Comunale d’Arte Moderna, ‘Henry Moore: Sculture, Disegni, Opere Grafiche’, Forte dei Marmi, Italy
Ho-am Art Museum, Seoul, Korea
Horace Richter Gallery and Tel-Aviv University, ‘Henry Moore in Israel: Graphics and Sculptures’, Tel Aviv,
Israel
Rex Irwin Gallery, ‘Henry Moore: Bronzes, Drawings, Graphics’, Sydney, Australia
City Art Galleries, ‘Henry Moore: Early Carvings 1920-1940’, Leeds, England
Galerie Beyeler, ‘Henry Moore: Sculptures, Drawings’, Basel, Switzerland
Ceolfrith Gallery, ‘Henry Moore: Bronze Working Models’, Sunderland, England
___, ‘Henry Moore’, Copenhagen, Denmark
Marlborough Gallery, ‘Important Sculptures by Henry Moore’, New York NY
Fairweather Hardin Gallery, ‘Henry Moore: Large Two Forms’, Chicago IL
Museum Folkwang, ‘Henry Moore: Druckgrafik und Maquetten’, Essen, Germany
Goodman Gallery, ‘Henry Moore in the Eighties’, Sandton, South Africa
Bruce Museum, ‘Henry Moore: Perspectives on Form’, Greenwich CT
Centre for Contemporary Sculpture, ‘Henry Moore Graphics’, Tokyo, Japan
Blanden Memorial Art Gallery, Fort Dodge IA
Goldman Kraft Gallery, Chicago IL
Irving Feldman Gallery, Wes Bloomfield MI
Bernard Jacobson Gallery, Los Angeles CA
Nathan Silberberg Gallery, New York NY
Zebra One, ‘Henry Moore Graphics’, London, England
Makler Gallery, Philadelphia PA
Southwest Gallery, Dallas TX
Charles Foley Gallery, Columbus OH
Irma Stern Museum, Rosebank, South Africa
Royal Society of Arts, London, England
Museo de Monterrey, ‘Henry Moore en Mexico’, Mexico City, Mexico
Goldman Kraft Gallery, ‘Henry Moore: Sculptures, Drawings, Graphics’, Chicago IL
1981
Transworld Art, Alex Rosenberg Gallery, ‘Henry Moore: Sculpture, Drawings, Graphics’, New York NY
Goodman Gallery, ‘Henry Moore: Sculptures, Drawings and Graphics’, Sandton, South Africa
Ritz Hotel, ‘Henry Moore: Obra Gráfica’, Lisbon, Portugal
Sala Pelaires, ‘Henry Moore: Esculturas y Dibujos’, Palma de Mallorca, Spain
Beaux Arts Internationale, ‘Henry Moore: Etchings, Lithographs, Small Sculptures’, Willowdale, Canada
Allen R. Hite Art Institute, ‘Henry Moore: Large Two Forms: A Photographic Exploration by David Finn’,
Louisville KY
Centro Cultural de los Estados Unidos, ‘La Obra de Henry Moore en los Estados Unidos’, Madrid, Spain
Vigna Antoniniana Stamperia d’Arte, Rome, Italy
Pinacoteca Comunale, Camerino, Italy
Galleria d’Arte Niccoli, Parma, Italy
Fuji Television Gallery, Tokyo, Japan
Fischer Fine Art, ‘Henry Moore: Recent Aquatints, Etchings and Lithographs’, London, England
Contemporary Sculpture Center, Tokyo, Japan (Travelling Exhibition)
Contemporary Sculpture Center, Osaka, Japan (Travelling Exhibition)
Northern Artists Gallery, Harrogate, Scotland
Galerie Welz, ‘Henry Moore: Plastiken und Grafik’, Salzburg, Austria
Galleria Bergamini, ‘Henry Moore: Opere Recenti’, Milan, Italy
Wildenstein Gallery, London, England
Parque de El Retiro, Palacio de Velázquez, ‘Henry Moore: Sculptures, Drawings, Graphics 1921-1981’, Madrid,
Spain (Travelling Exhibition)
Gulbenkian Foundation, ‘Henry Moore: Sculptures, Drawings, Graphics 1921-1981’, Lisbon, Portugal (Travelling
Exhibition)
Miró Foundation, ‘Henry Moore: Sculptures, Drawings, Graphics 1921-1981’, Barcelona, Spain (Travelling
Exhibition)
City Art Gallery, Auckland, New Zealand [touring exhibition]
Royal Museum, Canterbury, England
Heidenberg Gallery, Toronto, Canada
Minden Gallery, Jersey, England
Galería Eude, ‘Henry Moore: Obra Grafica 1971-1979’, Barcelona, Spain
Century Galleries, ‘Homage au Mouton’, Henley-on-Thames, England
Centro una Arte, Fano, Italy
Galería Joan Prats, ‘Henry Moore: Escultures i Dibuixos’, Barcelona, Spain
1980
Il Bisonte,‘Moore: Opere Recenti’, Florence, Italy
Victoria and Albert Museum, ‘Tapestry: Henry Moore & West Dean’, London, England
Rosenthal, Selb, Germany
Galerie Levy and Förderkreis, ‘Henry Moore: Bronzen, Zeichnungen, Grafik’, Hamburg, Germany
Moorweide, ‘Henry Moore auf der Moorweide’, Hamburg, Germany
Wildenstein, ‘Henry Moore: Esculturas, Dibujos, Gráficos’, Buenos Aires, Argentina
Campus West Library, Welwyn Garden City, England
Fischer Fine Art, London, England
Gallery Kasahara, ‘Henry Moore IV’, Osaka, Japan (Travelling Exhibition)
Galerie Humanité, ‘Henry Moore IV’, Tokyo, Japan (Travelling Exhibition)
Galerie Patrick Cramer, ‘Henry Moore: Lithographies, Gravures 1976-1979’, Geneva, Switzerland
Christ’s Hospital Arts Centre, ‘Lithographs by Henry Moore Printed at the Curwen Studio’, Horsham, England
Galeria Portimao, ‘Henry Moore: Graphic Work 1966-1977’, Portimao, Portugal
Circle Center Arts and Crafts, ‘Henry Moore Graphics’, Chicago IL
Ward Freeman School, ‘Henry Moore: Sculptures & Graphics’, Buntingford, England
Hachmeister and Schnake Galerie, ‘Henry Moore: Zeichnungen, Kleinplastiken und Orig. Grafiken’, Munster,
Germany
Wakefield Art Gallery, Wakefield, England
Galleria Giulia, Rome, Italy
1979
Kunstkeller, ‘Henry Moore: Skulpturen und Graphik’, Berne, Switzerland
Municipal Museum of Art, ‘Exhibition of Henry Moore Graphics’, Kita-kyushu, Japan
Galleria Pieter Coray, ‘Henry Moore: Sculture, Grafica’, Lugano, Switzerland
Prince Henry’s High School, Evesham, England
Wildenstein Gallery, ‘Henry Moore Drawings 1969-79’, New York NY
Jersey Museum, St. Helier, Jersey, England
Loranger Gallery, ‘Henry Moore: Graphics, Small Sculptures, Drawings’, Toronto, Canada
Waddington Graphics, ‘Henry Moore: Drawings and Watercolours 1927-1959’ London, England
Lad Lane Gallery, ‘Henry Moore: Graphic Work 1973-1978’, Dublin, Ireland
St James’ Fine Art Cabinet, Zurich, Switzerland
Rijkscentrum Hoger Kunstonderwijs, Brussels, Belgium
Galerie K. G. Schäter, ‘Henry Moore: 36 Graphische Arbeiten’, Giessen, Germany
Bundeskanzleramt, ‘Henry Moore: Maquetten, Bronzen, Handzeichnungen’, Bonn, Germany (Travelling
Exhibition)
Wilhelm Hack Museum, ‘Henry Moore: Maquetten, Bronzen, Handzeichnungen’, Ludwigshafen, Germany
(Travelling Exhibition)
1978
Galería Joan Prats, ‘Henry Moore y el Inquietante Infinito’, Barcelona, Spain
Galería Eude, Barcelona, Spain
Georgetown Graphics, Washington DC
Playhouse Gallery, ‘Henry Moore: Elephant Skull Etchings’, Harlow, England
Camden Arts Centre, Errol Jackson: ‘Recent Photographs of Henry Moore’, London, England
Iwaki Ishikawa Kumamoto, ‘Henry Moore: In Praise Life: Drawings and Sculpture’, Tokyo, Japan
Mappin Art Gallery, ‘Henry Moore: Ideas for Sculpture’, Sheffield, England
Kunstsalon Wolfsberg, ‘Henry Moore: The Reclining Figure’, Zurich, Switzerland
Galerie Theater am Kirchplatz, Schaan, Lithuania
Staatsgalerie Moderner Kunst, Stuttgart, Germany
Lillian Heidenberg, New York NY
Ausbildungszentrum Wolfsberg, ‘Henry Moore: Notebooks’, Ermatingen, Switzerland
Stiftung Landis and Gyr, Zug, Switzerland
Gallery Kasahara, Osaka, Japan
Festival Gallery, ‘Lithographs by Henry Moore’, Aldeburgh, England
Galleri Haaken, ‘Hommage a Henry Moore’, Oslo, Norway
Galería Joan Prats, ‘Henry Moore y el Inquietante Infinito’, Barcelona, Spain
Bayerischen Staatsgemäldesammlungen, Munich, Germany
Tate Gallery, ‘The Henry Moore Gift’, London, England
Serpentine Gallery and Kensington Gardens, ‘Henry Moore at the Serpentine’, London, England
Cartwright Hall and Lister Park, ‘Henry Moore: 80th Birthday Exhibition’, Bradford, England
Art Museum, ‘Henry Moore at the Wichita Art Museum’, Wichita KS
Curwen Gallery, ‘Henry Moore: 80th Birthday Exhibition of Graphic Work’, London, England
Fujikawa Galleries, Tokyo, Japan (Travelling Exhibition)
Fujikawa Galleries, Osaka, Japan (Travelling Exhibition)
Fujikawa Galleries, Fukuoka, Japan (Travelling Exhibition)
Fischer Fine Art, ‘Henry Moore the Carver: An Eightieth Birthday Tribute’, London, England
Hirshhorn Museum and Sculpture Garden, ‘Henry Moore: The Hirshhorn Museum and Sculpture Garden
Collection’, Washington DC
Estudio Actual, Caracas, Venezuela
Galerie Patrick Cramer, ‘Hommage à Henry Moore’, Geneva, Switzerland
Graphics 1 and Graphics 2, Boston MA
1977
Touring Exhibition, Norway, Sweden and Denmark
Art Gallery of Ontario, ‘The Drawings of Henry Moore’, Toronto (Travelling Exhibition)
Tate Gallery, ‘The Drawings of Henry Moore’, London, England (Travelling Exhibition)
California: Herbert B. Palmer Gallery, ‘Henry Moore: Bronzes and Graphics’, Beverly Hills CA
Galerie-T, Amsterdam, Netherlands
Andrew Crispo Gallery, ‘Guide to Henry Moore Sculptures Around the World’, New York NY
Kunstkeller, Berne, Switzerland
Gracefield Arts Centre, Dumfries
Galerie Madoura, ‘Henry Moore: 41 Gravures’, Vallauris, France
Mazart SA, Lugano, Switzerland
Orangerie des Tuilleries, ‘Henry Moore: Sculptures et Dessins’, Paris, France
Bahnhof Rolandseck, Bonn, Germany
Bibliothèque Nationale, Paris, France
Agnes Etherington Art Centre, ‘Henry Moore: Sculpture, Drawings, Graphics’, Kingston, Canada
Didrichsenin Taidemuseo, Helsinki, Finland
Gallery Kasahara, Osaka, Japan
Förvatningshuset, Utställning, ‘Heny Moore’, Göteborg, Sweden (Travelling Exhibition)
Börjessons Konsthandel, ‘Heny Moore’, Zurich, Switzerland (Travelling Exhibition)
1976
Dallas Museum of Art, ‘Works by Henry Moore from Dallas Collections’, Dallas TX
Dorsky Galleries, Henry Moore: ‘Rare Graphic Images’, New York NY
Louisana Museum of Modern Kunst, Humlebaek, Denmark
Hokin Gallery, Palm Beach FL
Lillian Heidenberg Gallery, New York NY
Grafton Gallery, ‘Six Recent Portfolios by Henry Moore 1972-1975’, Bury St. Edmunds, England
Galería Eude, ‘Henry Moore: Obra Gráfica 1973-1975’, Barcelona, Spain
Fischer Fine Art Ltd, ‘Henry Moore: The Complete Graphic Work 1974-1976’, London, England
Imperial War Museum, ‘Henry Moore War Drawings’, London, England
Zürcher Forum, ‘Expo Henry Moore’, Zurich, Switzerland
Galerie Gérald Cramer, Geneva, Switzerland
Galerie Oljemark, Finland
Rodman Hall Arts Centre, ‘Henry Moore: Sculpture, Drawings and Graphics’, St Catharines, Canada
(Travelling Exhibition)
Kitchener-Waterloo Art Gallery, ‘Henry Moore: Sculpture, Drawings and Graphics’, Kitchener ON
(Travelling Exhibiton)
Timmins Museum Centre, ‘Henry Moore: Sculpture, Drawings and Graphics’, Timmins ON (Travelling
Exhibition)
Art Gallery of Windsor, ‘Henry Moore: Sculpture, Drawings and Graphics’, Windsor CO (Travelling
Exhibition)
West Virginia, Huntington Galleries, ‘Henry Moore Graphics’, Huntington WV
Albert White Gallery, ‘Henry Moore: Etchings and Lithographs, Sculptures’, Toronto, Canada
1975
Fort Wayne Museum of Art, ‘Henry Moore: Graphics 1969-1974’, Fort Wayne IN (Travelling Exhibition)
University Art Gallery, ‘Henry Moore: Graphics 1969-1974’, Pittsburgh PA (Travelling Exhibition)
Henry Gallery, University of Washington, ‘Henry Moore: Graphics 1969-1974’, Seattle WA (Travelling
Exhibition)
Philbrook Art Center, ‘Henry Moore: Graphics 1969-1974’, Tulsa OK (Travelling Exhibition)
The Phillips Collection, ‘Henry Moore: Graphics 1969-1974’, Washington DC 8Travelling Exhibition)
Municipal Art Gallery, ‘Henry Moore: Graphics 1969-1974’, Davenport IA (Travelling Exhibition)
Rosenburg Library, ‘Henry Moore: Graphics 1969-1974’, Galveston TX (Travelling Exhibition)
University Art Museum, ‘Henry Moore: Graphics 1969-1974’, Austin TX (Travelling Exhibiton)
Museum of the Arts, ‘Henry Moore: Graphics 1969-1974’, Fort Lauderdale FL (Travelling Exhibiton)
Brooks Memorial Art Gallery, ‘Henry Moore: Graphics 1969-1974’, Memphis TN (Travelling Exhibition)
Munson-Williams-Proctor Institute, ‘Henry Moore: Graphics 1969-1974’, Utica NY (Travelling Exhibition)
Elvehjem Art Center, ‘Henry Moore: Graphics 1969-1974’, Madison WI (Travelling Exhibition)
Kirkland Gallery, Millikan University, ‘Henry Moore: Graphics 1969-1974’, Decatur GA (Travelling Exhibition)
Ringling Museum of Art, ‘Henry Moore: Graphics 1969-1974’, Sarasota FL (Travelling Exhibition)
Museum of Art, ‘Henry Moore: Graphics 1969-1974’, Baltimore MD (Travelling Exhibition)
Krannert Art Museum, University of Illinois, ‘Henry Moore: Graphics 1969-1974’, Champaign IL (Travelling
Exhibtion)
The Dulin Gallery of Art, ‘Henry Moore: Graphics 1969-1974’, Knoxville TN (Travelling Exhibition)
Benedicta Arts Center, College of St Benedict and St Joseph, ‘Henry Moore: Graphics 1969-1974’, St. Joseph
MN (Travelling Exhibition)
The Nevada Art Gallery, ‘Henry Moore: Graphics 1969-1974’, Reno NV (Travelling Exhibition)
Feyette Bank & Trust Co., ‘Henry Moore: Graphics 1969-1974’, Uniontown PA (Travelling Exhibition)
Didsbury College of Education, ‘Henry Moore: Elephant Skull Etchings’, Manchester, England (Travelling
Exhibition)
University of Salford, ‘Henry Moore: Elephant Skull Etchings’, Salford, England (Travelling Exhibition)
Tate Gallery, ‘Henry Moore: Graphics in the Making’, London, England (Travelling Exhibition)
City Art Gallery, ‘Henry Moore: Graphics in the Making’, Wakefield, England (Travelling Exhibition)
Henie-Onstad Kunstsenter, ‘Henry Moore: Skulptur, Teckning, Grafik 1923-1975’, Oslo, Norway (Travelling
Exhibition)
Kulturhuset, ‘Henry Moore: Skulptur, Teckning, Grafik 1923-1975’, Stockholm, Sweden (Travelling Exhibition)
Nordjyllands Kunstmuseum, ‘Henry Moore: Skulptur, Teckning, Grafik 1923-1975’, Aalborg, Denmark
(Travelling Exhibition)
Louisiana Museum of Modern Kunst, ‘Henry Moore: Skulptur, Teckning, Grafik 1923-1975’, Humlebaek,
Denmark (Travelling Exhibition)
Benjaman’s Art Gallery, Buffalo NY
Galería Eude, ‘Henry Moore: Obra Grafica 1973-1975’, Barcelona, Spain
Kunstkeller, ‘Henry Moore: Grafik’, Berne, Switzerland
Graphisches Kabinett Karl Vonderbank, Frankfurt a. M., Germany
Junior Gallery, Goslar, Germany
Playhouse Gallery, ‘Six Recent Portfolios: Graphic Work by Henry Moore 1972-75’, Harlow, England
Galerie Gérald Cramer, ‘Henry Moore: Eaux-Fortes et Lithographies, Sculptures’, Geneva, Switzerland
Wildenstein Gallery, ‘Fujikawa Galleries, Henry Moore: Graphic and Sculpture’, Tokyo, Japan
Arkiv för Dekorativ Konst, Lund, Sweden
1974
Galerie Dreiseital, Cologne, Germany
Fischer Fine Art, Stuttgart, Germany
Thomas Gibson, ‘Henry Moore: Twenty Sculptures from the Collection of Thomas Gibson Fine Art’, London,
England
Marlborough Godard, Toronto, Canada
Wilhelm Lehmbruck Museum, ‘Henry Moore: The Graphic Work 1931-1973’, Duisburg, Germany (Travelling
Exhibition)
Ernst Barlach Haus, ‘Henry Moore: The Graphic Work 1931-1973’, Hamburg, Germany (Travelling Exhibition)
Hessisches Landsmuseum, ‘Henry Moore: The Graphic Work 1931-1973’, Darmstadt, Germany (Travelling
Exhibition)
Middelheim Promoters, ‘Henry Moore: The Graphic Work 1931-1973’, Antwerp, Belgium (Travelling Exhibition)
Museumssaal, ‘Henry Moore: Grafik 1931-74’, Überlingen, Germany
Fischer Fine Art, ‘Henry Moore Graphic Work 1972-1974’, London, England (Travelling Exhibition)
Wildenstein Gallery, ‘Henry Moore Graphic Work 1972-1974’, New York NY (Travelling Exhibition)
Touring exhibition organised by Eastern Arts Association of the Arts Council, ‘Elephant Skull Etchings by
Henry Moore’
Wildenstein Gallery, ‘A Selection of Important Sculptures by Henry Moore’, New York NY
Transart, ‘Henry Moore: Retrospectiva 1931-1972: Opera Grafica’, Milan, Italy
South African National Gallery, ‘Henry Moore: Sculpture, Drawings, Graphics’, Cape Town, South Africa
Museum of Art, New Orleans LA
Gallery Kasahara, Osaka, Japan
Brown University, ‘Henry Moore Prints’, Providence RI
Albert White Gallery, ‘Henry Moore: Sculptures’, Toronto, Canada
Galeria de Arte Mexicano, ‘Henry Moore: Litografías para un Libro de Poemas de W.H. Auden’, Mexico City,
Mexico
Kamakura Museum of Modern Art, ‘Henry Moore by Henry Moore Exhibition’, Kanagawa, Japan (Travelling
Exhibition)
Hyogo Museum, ‘Henry Moore by Henry Moore Exhibition’, Kobe City, Japan (Travelling Exhibition)
Bridgestone Museum, ‘Henry Moore by Henry Moore Exhibition’, Kurume, Japan (Travelling Exhibition)
Gunma Museum, ‘Henry Moore by Henry Moore Exhibition’, Takasaki City, Japan (Travelling Exhibition)
Kar Gallery, ‘Henry Moore: Graphic Work’, Toronto, Canada
Art Gallery of Ontario, The Henry Moore Sculpture Centre, ‘Henry Moore Drawings, Bronzes and Graphics
from the Feheley Collection’, Toronto, Canada
British Museum, ‘Auden Poems/Moore Lithographs’, London, England
1973
Galerie Gérald Cramer, ‘Henry Moore: L’Oeuvre Gravé. Rétrospective 1931-1972’, Geneva, Switzerland
Israel Museum, Jerusalem, Israel
Graphis Arte Livorno, ‘Henry Moore: Incisioni, Litografie’, Livorno, Italy
Kunstsalon Wolfsberg, ‘Henry Moore: Elephant Skull’, Zurich, Switzerland
Palace Hotel, ‘Henry Moore: Ausgewählte Graphik und Skulpturen’, St Moritz, Switzerland
Fischer Fine Art, ‘Henry Moore: The Complete Graphic Work 1931-1972’, London, England (Travelling
Exhibition)
National Gallery of Scotland, ‘Henry Moore: The Complete Graphic Work 1931-1972’, Edinburgh, England
(Travelling Exhibition)
Camden Arts Centre, ‘Henry Moore at Work: Photographs by Errol Jackson’, London, England
Städtische Galerie, ‘Henry Moore: Grafik’, Freiburg, Germany
Galerie Kornfeld, ‘Henry Moore: Graphik’, Zurich, Switzerland
Art Gallery, ‘Henry Moore: Olifantskedel’, Johannesburg, South Africa
Galleri Haaken, ‘Henry Moore Litografier og Raderinger’, Oslo, Norway
Il Bisonte, ‘Henry Moore: Opera Grafica’, Florence, Italy
Galerie Weber, Paris, France
County Museum, ‘Henry Moore in America’, Los Angeles CA
University of East Anglia, ‘Henry Moore: Elephant Skull’, Norwich, England
Musée d’Histoire et d’Art, ‘Henry Moore: Retrospective 1927-1970’, Luxembourg, Luxembourg
Touring exhibition organised by the International Exhibitions Foundation, ‘Henry Moore’s Elephant Skull’, USA
1972
Touring exhibition organised by the British Council, Canada, ‘Henry Moore: Enlarged Photographs, Small
Sculptures and Lithographs’, Malawi, Zambia and Thailand
Museo Nazionale, ‘Omaggio a Henry Moore’, Reggio Calabria, Italy
Playhouse Gallery, Harlow, England
Kunsthalle, ‘Henry Moore: Elefantenschädel’, Bielefeld (Travelling Exhibition)
Galerie Stangl, ‘Henry Moore: Elefantenschädel’, Munich, Germany (Travelling Exhibition)
Galleria Lo Spazio, ‘Henry Moore: Disegni dal 1928 al 1971’, Rome, Italy
Galleria d’Arte Davico, ‘I Disegni di Henry Moore’, Turin, Italy (Travelling Exhibition)
Galleria Bon à Tirer, ‘I Disegni di Henry Moore’, Milan, Italy (Travelling Exhibition)
Il Bisonte, ‘Henry Moore: Sculpture, Disegni, Grafica’, Florence, Italy
Tom Thomson Memorial Art Gallery, ‘Henry Moore: Sculptor’, Ontario, Canada
Lefevre Gallery, ‘Small Bronzes and Drawings by Henry Moore’, London, England
City Museum and Art Gallery, Stoke-on-Trent, England
Forte di Belvedere, ‘Mostra di Henry Moore’, Florence, Italy
Salisbury Cathedral Close, Salisbury, England
1971
Dorsky Galleries, ‘Henry Moore: Elephant Skull’, New York NY
Turnpike Gallery, ‘Henry Moore: Sculpture, Drawings, Graphics’, Leigh, England
Toninelli Gallery, Milan, Italy
Maison de la Chasse et de la Nature, ‘Henry Moore: Elephant Skull Etchings’, Paris, France
Staatsgalerie Moderner Kunst, ‘Henry Moore 1961-1971’, Munich, Germany
Musée Rodin, Paris, France
___, ‘Henry Moore: Heykel, Resim, Fotograf Sergisi’, Istanbul, Turkey
Abadan, ‘Henry Moore: An Exhibition of Sculpture and Drawings 1928-1969’, Tehran, Iran
1970
Baukunst-Galerie, ‘Henry Moore: Plastiken und Zeichnungen’, Cologne, Germany
Galerie Gérald Cramer, ‘Elephant Skull: Original Etchings by Henry Moore’, Geneva, Switzerland (Travelling
Exhibition)
Pinakothek, ‘Elephant Skull: Original Etchings by Henry Moore’, Munich, Germany (Travelling Exhibition)
Marlborough Fine Art, ‘Elephant Skull: Original Etchings by Henry Moore’, London, England (Travelling
Exhibition)
MoMA Museum of Modern Art, ‘Elephant Skull: Original Etchings by Henry Moore’, New York NY (Travelling
Exhibition)
Usher Centre, ‘Works by Henry Moore’, Lincoln, England
Marlborough Gallery and M. Knoedler, ‘Henry Moore: Carvings 1961-1970, Bronzes 1961-1970’, New York NY
Galerie Beyeler, ‘Henry Moore Drawings, Watercolours and Gouaches’, Basel, Switzerland
Galerie Baukunst, ‘Henry Moore Sculptures’, Cologne, Germany
City Museum and Art Gallery, ‘Henry Moore: Exhibition of Sculptures and Drawings’, Hong Kong, Great
Britain
1969
Museum and Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Derby, England (Travelling Exhibition)
Herbert Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Coventry, England (Travelling Exhibition)
George Room, ‘Henry Moore: Sculptures and Drawings’, Stroud, England (Travelling Exhibitioon)
Gordon Maynard Gallery, ‘Henry Moore: Sculptures and Drawings’, Welwyn, England (Travelling Exhibition)
Garden City, Public Library Museum and Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Carlisle,
England (Travelling Exhibition)
Beecroft Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Southend, England (Travelling Exhibition)
Beaford Centre, ‘Henry Moore: Sculptures and Drawings’, Beaford, England (Travelling Exhibition)
The College, ‘Henry Moore: Sculptures and Drawings’, Winchester, England (Travelling Exhibitioon)
Manx Museum, Isle of Man, England (Travelling Exhibition)
Cumberland House, ‘Henry Moore: Sculptures and Drawings’, Portsmouth, England (Travelling Exhibition)
St Paul’s School, ‘Henry Moore: Sculptures and Drawings’, London, England (Travelling Exhibition)
Burton Gallery, ‘Henry Moore: Sculptures and Drawings’, Bideford, England (Travelling Exhibiiton)
Central Library, ‘Henry Moore: Sculptures and Drawings’, Gillingham, England (Travelling Exhibition)
National Museum of Modern Art, ‘Henry Moore Exhibition in Japan’, Tokyo, Japan
University of York, England
Castle Museum, ‘Works by Henry Moore’, Norwich, England
1968
Castleford Public Library, Wakefield, England
Kulturni Centar Beograda, Belgrade, Serbia
Brook Street Gallery, ‘Henry Moore: Watercolours, Drawings, Lithographs’, London, England
Marlborough Fine Art, London, England
Rijksmuseum Kröller-Müller, Otterlo, Netherlands (Travelling Exhibition)
Städtische Kunsthalle Düsseldorf, Dusseldorf, Germany (Travelling Exhibition)
Museum Boymans-van Beuningen, Rotterdam, Netherlands (Travelling Exhibition)
Staatliche Kunsthalle, Baden-Baden, Germany (Travelling Exhibition)
Kunsthalle, Bielefeld, Germany (Travelling Exhibition)
Mathildenhöhe, Darmstadt, Germany (Travelling Exhibition)
Städtische Kunstsammlungen Nürnberg, Nuremberg, Germany (Travelling Exhibition)
Kunstsalon Wolfsberg, ‘Henry Moore: Graphic Works’, Zurich, Switzerland
Rye Gallery, Rye, Switzerland
Tate Gallery, London, England
Galerie Gérald Cramer, ‘Henry Moore: Oeuvre Gravé et Lithographié’, Geneva, Switzerland
1967
Marlborough Fine Art, ‘Henry Moore: Carvings 1923-1966’, London, England
Rodin Museum, ‘The Henry Moore Exhibition’, Philadelphia PA
Staatsgalerie, ‘Die Shelterzeichnungen des Henry Moore’, Stuttgart, Germany
Trinity College Library, ‘Some Sculptures and Drawings by Henry Moore’, Dublin, Ireland
Mucsarnok, Budapest, Hungary
Art Gallery and Museum, Sheffield, England
The School of Social Service Administration Building, ‘Chicago’s Homage to Henry Moore’, Chicago IL
Marlborough Fine Art, ‘Henry Moore: Meditations on the Effigy, 1967’, London, England
Art Gallery of Ontario, ‘Henry Moore’ (organised by the British Council), Toronto, Canada (Travelling
Exhibition)
Confederation Art Gallery and Museum, ‘Henry Moore’ (organised by the British Council), Charlottetown,
Canada (Travelling Exhibition)
Musée des Beaux-Arts, ‘Henry Moore’ (organised by the British Council), Quebec, Canada (Travelling
Exhibiiton)
Arts and Cultural Centre, ‘Henry Moore’ (organised by the British Council), St. Johns, Canada (Travelling
Exhibition)
National Gallery of Canada, ‘Henry Moore’ (organised by the British Council), Ottawa, Canada (Travelling
Exhibition)
Museum of Fine Arts, ‘Henry Moore’ (organised by the British Council), Montreal, Canada (Travelling
Exhibition)
1966
Baltimore Museum of Art, Baltimore MD
Southampton Art Gallery, Southampton, England
Marlborough Fine Art, ‘Henry Moore: Shelter Sketch Book 1940-42’, London, England
Israel Museum, ‘Henry Moore’ (organised by the British Council), Jerusalem, Israel (Travelling Exhibition)
Helena Rubinstein Pavilion, Tel-Aviv Museum, ‘Henry Moore’ (organised by the British Council), Tel Aviv,
Israel (Travelling Exhibition)
Sala Dalles, ‘Henry Moore’ (organised by the British Council), Bucharest, Romania (Travelling Exhibition)
Slovak National Gallery, ‘Henry Moore’ (organised by the British Council), Bratislava, Slovakia (Travelling
Exhibition)
National Gallery, ‘Henry Moore’ (organised by the British Council), Prague, Czech Republic (Travelling
Exhibition)
New Metropol Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Folkestone, England (Travelling
Exhibition)
City Museum and Art Gallery, ‘Henry Moore: Sculptures and Drawings’, Plymouth, England (Travelling
Exhibition)
Arts Council of Great Britian, UK
The Phillips Collection, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Washington DC (Travelling Exhibition)
DeCordova Museum, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Lincoln MA (Travelling Exhibiton)
The Brooklyn Museum, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
New York NY (Travelling Exhibition)
The High Museum of Art, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Atlanta GA (Travelling Exhibition)
Denver Art Museum, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Denver CO (Travelling Exhibition)
Brooks Memorial Art Gallery, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian
Institute), Memphis TN (Travelling Exhibition)
Philadelphia Museum of Art, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian
Institute), Philadelphia PA (Travelling Exhibition)
William Rockhill Nelson Gallery of Art, ‘Sculpture and Drawings by Henry Moore’ (organised by the
Smithsonian Institute), Kansas City MO (Travelling Exhibiiton)
Minneapolis Institute of Arts, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian
Institute), Minneapolis MN (Travelling Exhibition)
The Winnipeg Art Gallery, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Winnipeg, Canada (Travelling Exhibition)
Detroit Institute of Arts, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian Institute),
Detroit MI (Travelling Exhibition)
Munson-Williams-Proctor Institute, ‘Sculpture and Drawings by Henry Moore’ (organised by the Smithsonian
Institute), Utica NY (Travelling Exhibiiton)
1965
Norwich Castle Museum, ‘Henry Moore: Arts Council Collection’, Norwich, England
Agnes Etherington Art Centre, Kingston, Canada
Arkansas Art Center, ‘Drawings and Sculpture by Henry Moore’, Arkansas KS
University of Arizona Art Gallery, ‘Henry Moore: A Retrospective Exhibition of Sculpture and Drawings’,
Tucson AZ
Marlborough Galleria d’Arte, Rome, Italy
Orleans Gallery, ‘Henry Moore: An Exhibition of Sculpture and Drawings’, New Orleans LA
Marlborough Fine Art, London, England
Museum of Fine Arts, Richmond VA
Banbury School of Art, Banbury, England
Institute of Contemporary Arts, London, England
City Hall Art Gallery, ‘Henry Moore: Exhibition of Sculptures, Photographs, Reproductions’, Hong Kong, China
Valley House Gallery, ‘Sculptures by Henry Moore’, Dallas TX
1964
Knoedler, New York NY
Festival Exhibition, ‘Exhibition of Sculpture and Drawings by Henry Moore at King’s Lynn’, King’s Lynn,
England
1963
Marlborough Fine Art, ‘Henry Moore: Recent Work’, London, England
Arts Council, Forty Hill, Enfield, England
Kunstamt Reinickendorf, ‘Henry Moore: Zeichnungen und Aquarelle’, Berlin, Germany (Travelling Exhibition)
Kunstamt Tempelhof, ‘Henry Moore: Zeichnungen und Aquarelle’, Berlin, Germany (Travelling Exhibition)
Galerie Wolfgang Gurlitt, ‘Henry Moore: Zeichnungen und Aquarelle’, Munich, Germany (Travelling Exhibition)
Galerie Manfred Strake, ‘Henry Moore: Zeichnungen und Aquarelle’, Kalkum bei Düsseldorf, Germany
(Travelling Exhibition)
Kulturamt, ‘Henry Moore: Zeichnungen und Aquarelle’, Castrop-Rauxel, Germany (Travelling Exhibition)
La Jolla Arts Center, La Jolla CA (Travelling Exhibtion)
Museum of Art, Santa Barbara CA (Travelling Exhibition)
Municipal Art Galleries, Los Angeles CA (Travelling Exhibition)
City Art Gallery, ‘Henry Moore: An Exhibition of Sculpture and Drawings’, Wakefield, England (Travelling
Exhibition)
Ferens Art Gallery, ‘Henry Moore: An Exhibition of Sculpture and Drawings’, Kingston upon Hull, England
(Travelling Exhibition)
Kelvingrove, Glasgow, England
Ashmolean Museum, ‘Henry Moore: Exhibition of Sculpture and Drawings’, Oxford, England
Arts Council Gallery, ‘Henry Moore: An Exhibition of Sculpture and Drawings’ (organised by the Arts Council),
Cambridge, England (Travelling Exhibition)
City Art Gallery, ‘Henry Moore: An Exhibition of Sculpture and Drawings’ (organised by the Arts Council),
York, England (Travelling Exhibition)
Castle Museum, ‘Henry Moore: An Exhibition of Sculpture and Drawings’ (organised by the Arts Council),
Nottingham, England (Travelling Exhibition)
___, ‘Henry Moore: An Exhibition of Sculpture and Drawings’ (organised by the Arts Council), Aldeburg,
England (Travelling Exhibiiton)
1962
Galerie Gérald Cramer, ‘Henry Moore: Sculptures, Dessins, Estampes’, Geneva, Switzerland
Knoedler, New York NY
Instituto Britanico, ‘Henry Moore: Exposición de Fotografias y Reproducciones con Algunos Broncas
Originales’, Madrid, Spain
1961
Marlborough Fine Art, ‘Henry Moore: Stone and Wood Carvings’, London, England
Scottish National Gallery of Modern Art, ‘Henry Moore: Sculpture and Drawings from Sir Kenneth Clark’s
Collection’, Edinburgh, Scotland
1960
Hamburger Kunsthalle, ‘Henry Moore’ (organised by the British Council), Hamburg, Germany (Travelling
Exhibition)
Folwang Museum, ‘Henry Moore’ (organised by the British Council), Essen, Germany 8Travelling Exhibiiton)
Kunsthaus Zürich, ‘Henry Moore’ (organised by the British Council), Zurich, Switzerland (Travelling
Exhibition)
Haus der Kunst, ‘Henry Moore’ (organised by the British Council), Munich, Germany (Travelling Exhibition)
Galleria Nazionale d’Arte Moderna, ‘Henry Moore’ (organised by the British Council), Rome, Italy (Travelling
Exhibition)
Musée Rodin, ‘Henry Moore’ (organised by the British Council), Paris, France (Travelling Exhibition)
Stedlijk Museum, ‘Henry Moore’ (organised by the British Council), Amsterdam, Netherlands (Travelling
Exhibition)
Akademie der Bildenden Künste, ‘Henry Moore’ (organised by the British Council), Vienna, Austria (Travelling
Exhibition)
Louisiana Museum, ‘Henry Moore’ (organised by the British Council), Humlebaek, Denmark (Travelling
Exhibition)
___, touring exhibition of the Baltic
Whitechapel Art Gallery, ‘Henry Moore: Sculpture 1950-1960’, London, England
1959
Zachenta Gallery, ‘Henry Moore’ (organised by the British Council), Warsaw, Poland (Travelling Exhibition)
Society of Fine Arts, ‘Henry Moore’ (organised by the British Council), Krakow, Poland (Travelling Exhibition)
National Museum, ‘Henry Moore’ (organised by the British Council), Poznan, Poland (Travelling Exhibition)
Central Board of Exhibitions’Henry Moore’ (organised by the British Council), Wroclaw, Poland (Travelling
Exhibition)
Museum of Pomerania, ‘Henry Moore’ (organised by the British Council), Szczecin, Poland (Travelling
Exhibition)
Palacio Fox, ‘Henry Moore’ (organised by the British Council), Lisbon, Portugal (Travelling Exhibition)
Escola de Bellas Artes, ‘Henry Moore’ (organised by the British Council), Oporto, Portugal (Travelling
Exhibition)
Galerie de National Bibliothek, ‘Henry Moore’ (organised by the British Council), Madrid, Spain (Travelling
Exhibition)
Recinto del Antiguo Hospital de la Santa Cruz, ‘Henry Moore’ (organised by the British Council), Barcelona,
Spain (Travelling Exhibition)
Metropolitan Art Gallery, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of
Japan’ (organised by Mainichi Newspapers and the British Council), Tokyo, Japan (Travelling Exhibition)
Sogo Department Store Gallery, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition
of Japan’ (organised by Mainichi Newspapers and the British Council), Osaka, Japan (Travelling Exhibition)
Modern Art Museum, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of Japan’
(organised by Mainichi Newspapers and the British Council), Takamatsu, Japan (Travelling Exhibition)
City Art Gallery, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of Japan’
(organised by Mainichi Newspapers and the British Council), Yawata, Japan (Travelling Exhibition)
Fukuya Department Store Gallery, ‘Henry Moore Special Exhibition within the Fifth International Art
Exhibition of Japan’ (organised by Mainichi Newspapers and the British Council), Hiroshima, Japan
(Travelling Exhibition)
Daimaru Department Store Gallery, ‘Henry Moore Special Exhibition within the Fifth International Art
Exhibition of Japan’ (organised by Mainichi Newspapers and the British Council), Fukuoka, Japan
(Travelling Exhibition)
Public City Hall, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of Japan’
(organised by Mainichi Newspapers and the British Council), Ube, Japan (Travelling Exhibition)
Culture Centre, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of Japan’
(organised by Mainichi Newspapers and the British Council), Saseho, Japan (Travelling Exhibition)
Oriental Nakamura, ‘Henry Moore Special Exhibition within the Fifth International Art Exhibition of Japan’
(organised by Mainichi Newspapers and the British Council), Nagoya, Japan (Travelling Exhibition)
Arts Club of Chicago, ‘Henry Moore: Sculpture and Drawings from Chicago Collections’, Chicago IL
1958
Universitätsstadt, ‘Henry Moore: Und Englische Zeichner’, Tübingen, Germany
Hatton Gallery, Newcastle upon Tyne, England
1957
Galerie Czwikltzer, ‘Henry Moore: Farbige Lithographien und Handzeichnungen’, Cologne, Germany
Galerie Berggruen, ‘Henry Moore: Sculptures et Dessins’, Paris, France
1955
Museum of Fine Arts, ‘Henry Moore’(organised by the British Council), Montreal, Canada (Travelling
Exhbition)
National Gallery of Canada, ‘Henry Moore’(organised by the British Council), Ottawa, Canada (Travelling
Exhibition)
The Art Gallery of Ontario, ‘Henry Moore’(organised by the British Council), Toronto, Canada (Travelling
Exhibition)
Art Gallery Association, ‘Henry Moore’(organised by the British Council), Winnipeg, Canada (Travelling
Exhibition)
The Art Gallery, ‘Henry Moore’(organised by the British Council), Vancouver, Canada(Travelling Exhibition)
City Art Gallery, ‘Henry Moore’(organised by the British Council), Auckland, New Zealand (Travelling
Exhibition)
Canterbury Society of Arts, ‘Henry Moore’(organised by the British Council), Christchurch, New Zealand
(Travelling Exhibition)
Public Art Gallery, ‘Henry Moore’(organised by the British Council), Dunedin, New Zealand (Travelling
Exhibition)
National Art Gallery of New Zealand, ‘Henry Moore’ (organised by the British Council), Wellington, New
Zealand (Travelling Exhibition)
George V Gallery, ‘Henry Moore’(organised by the British Council), Port Elizabeth, South Africa (Travelling
Exhibition)
Rhodes Centenary Art Gallery, ‘Henry Moore’(organised by the British Council), Salisbury, South Africa
(Travelling Exhibition)
National Museum, ‘Henry Moore’(organised by the British Council), Bulawayo, Zimbabwe; Art Gallery,
Johannesburg, South Africa (Travelling Exhibition)
Leicester Galleries, ‘Exhibition of Recent Sculpture and Early Life Drawings by Henry Moore’, London,
England
Tomislav Pavilion, Zagreb, Croatia (Travelling Exhibition)
Kalemegdan Pavilion, Belgrade, Serbia (Travelling Exhibition)
Moderna Galerija, Ljubljana, Slovenia (Travelling Exhibition)
Daud Pash Hamaki, Skopje, Macedonia (Travelling Exhibition)
University of Colorado, Boulder CO (Travelling Exhibition)
Art Museum, Denver CO (Travelling Exhibition)
University of Wyoming, Laramie WY (Travelling Exhibition)
1954
Leicester Galleries, ‘Exhibition of New Bronzes by Henry Moore’, London, England
Curt Valentin Gallery, New York NY
1953
Kestner Gesellschaft, ‘Henry Moore’ (organised by the British Council), Hanover, Germany (Travelling
Exhibition)
Haus der Kunst, ‘Henry Moore’ (organised by the British Council), Munich, Germany (Travelling Exhibition)
Städelisches Kunstinstitut, ‘Henry Moore’ (organised by the British Council), Frankfurt a. M., Germany
(Travelling Exhibition)
Staatsgalerie, ‘Henry Moore’ (organised by the British Council), Stuttgart, Germany (Travelling Exhibition)
Kunsthalle, Mannheim, ‘Henry Moore’ (organised by the British Council), Mannheim, Germany (Travelling
Exhibition)
Kunsthalle, ‘Henry Moore’ (organised by the British Council), Bremen, Germany (Travelling Exhibition)
Stadtverwaltung Göttingen, ‘Henry Moore’ (organised by the British Council), Göttingen, Germany
(Travelling Exhibition)
Der Senat für Volksbildung, ‘Henry Moore’ (organised by the British Council), Berlin, Germany (Travelling
Exhibition)
Comitee voor Artistieke Werking, Antwerp, Belgium
Institute of Contemporary Arts, ‘Henry Moore: Figures in Space, Drawings’, London, England
1952
Royal Academy of Arts, ‘Henry Moore: Skulpturer och Teckningar’ (organised by Riksförbundet for Bildande
Konst and the British Council), Stockholm, Sweden (Travelling Exhibition)
Akademien, ‘Henry Moore: Skulpturer och Teckningar’ (organised by Riksförbundet for Bildande Konst and
the British Council), Norrköping, Sweden (Travelling Exhibition)
Akademien, ‘Henry Moore: Skulpturer och Teckningar’ (organised by Riksförbundet for Bildande Konst and
the British Council), Orebro, Sweden (Travelling Exhibition)
Kunstmuseum, ‘Henry Moore: Skulpturer och Teckningar’ (organised by Riksförbundet for Bildande Konst
and the British Council), Göteborg, Sweden (Travelling Exhibition)
Kunstföreningen, ‘Henry Moore: Skulpturer og Tegninger’, Copenhagen, Denmark (Travelling Exhibition)
Kunstnernes Hus, ‘Henry Moore: Skulpturer og Tegninger’, Oslo, Norway (Travelling Exhibition)
Kunstföreiningen, ‘Henry Moore: Skulpturer og Tegninger’, Trondheim, Norway (Travelling Exhibition)
Kunstföreiningen, ‘Henry Moore: Skulpturer og Tegninger’, Bergen, Norway (Travelling Exhibiton)
Boymans-van Beuningen Museum, Rotterdam, Netherlands
Samlaren Gallery, ‘Henry Moore: Skulptur, Teckningar’, Stockholm, Sweden
1951
Haus am Waldsee, ‘Henry Moore: Zeichnungen, Kleinplastik, Graphik’ (organised by the British Council),
Berlin, Germany (Travelling Exhibition)
Albertina, ‘Henry Moore: Zeichnungen, Kleinplastik, Graphik’ (organised by the British Council), Vienna,
Austria (Travelling Exhibition)
Neue Galerie der Stadt Linz, ‘Henry Moore: Zeichnungen, Kleinplastik, Graphik’ (organised by the British
Council), Linz, Austria (Travelling Exhibiton)
Leicester Galleries, ‘Exhibition of New Bronzes and Drawings by Henry Moore’, London, England
Tate Gallery, ‘Sculpture and Drawings by Henry Moore’, London, England
Buchholz Gallery, New York NY
1950
Galería de Arte Mexicana, ‘Exposición de Dibujos de Henry Moore’, Mexico City, Mexico
Galerías Arguitae, Guadaljara, Mexico
1949
Palais des Beaux-Arts, ‘Exposition Henry Moore: Sculptures, Dessins’, Belgium, Belgium
Musée Nationale d’Art Moderne, Paris, France
Stedelijk Museum, Amsterdam, Netherlands
Kunsthalle, ‘Henry Moore: Ausstellung von Skulpturen und Zeichnungen’, Hamburg, Germany
Kunsthalle, Berne, Switzerland
Zappeion Gallery, Athens, Greece
City Art Gallery, ‘Henry Moore: Sculpture and Drawings 1923 to 1948’, Wakefield, England (Travelling
Exhibition)
City Art Gallery, ‘Henry Moore: Sculpture and Drawings 1923 to 1948’, Manchester, England (Travelling
Exhibition)
1948
Roland, Browse and Delbanco, ‘Henry Moore: Drawings and Maquettes from 1928 to 1948’, London, England
Galleria d’Arte Moderna, ‘Sculpture and Drawings by Henry Moore’, Milan, Italy
La Biennale di Venezia, ‘Sculpture and Drawings by Henry Moore’, Venice, Italy
Art Council Gallery, ‘A Retrospective Exhibition of Drawings by Henry Moore’, Cambridge, England
1947
Art Gallery of New South Wales, ‘Exhibition of Sculpture and Drawings by Henry Moore’ (organised by the
British Council), Sydney, Australia (Travelling Exhibiiton)
Tasmanian Museum and Art Gallery, ‘Exhibition of Sculpture and Drawings by Henry Moore’ (organised by
the British Council), Hobart, Australia (Travelling Exhibition)
National Gallery of Victoria, ‘Exhibition of Sculpture and Drawings by Henry Moore’ (organised by the British
Council), Melbourne, Australia (Travelling Exhibition)
Art Gallery of South Australia, ‘Exhibition of Sculpture and Drawings by Henry Moore’ (organised by the
British Council), Adelaide, Australia (Travelling Exhibition)
Art Gallery of Western Australia, ‘Exhibition of Sculpture and Drawings by Henry Moore’ (organised by the
British Council), Perth, Australia (Travelling Exhibition)
1946
Museum of Modern Art, ‘Henry Moore: Retrospective Exhibition’, New York NY (Travelling Exhibition)
Art Institute of Chicago, ‘Henry Moore: Retrospective Exhibition’, Chicago IL (Travelling Exhibiiton)
Museum of Modern Art, ‘Henry Moore: Retrospective Exhibition’, San Francisco CA (Travelling Exhibition)
Phillips Memorial Gallery, ‘Drawings and One Work in Sculpture by Henry Moore’, Washington DC
1945
Berkeley Galleries, London, England
1943
Buchholz Gallery, ‘Henry Moore: 40 Watercolors and Drawings’, New York NY
1940
Leicester Galleries, London, England
1939
Mayor Gallery, ‘Exhibition of Drawings for Sculpture by Henry Moore’, London, England
1936
Leicester Galleries, London, England
1935
Zwemmer Gallery, London, England
1933
Leicester Galleries, London, England
1931
Leicester Galleries, ‘Exhibition of Sculpture and Drawings by Henry Moore’, London, England
1928
Warren Gallery, London, England
INFLUENCES
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By the end of 1925 Henry Moore had assimilated the main influences that were to determine the future
course of his creative creative career.
Herbert Read 1966
Ancient Cultures
I have always thought Rievaulx Abbey to be a most impressive monument. In its present state it is more
sculpture than architecture. When architecture is unusable it inevitably becomes aesthetically the same
as sculpture. This is perhaps why I like ruins. For example, the Parthenon. Now that the light passes
through it, it is far more sculptural than if it were all filled in.
Henry Moore
Moore’s discovery of Roger Fry’s Vision and Design, in which the author attacks classical traditions of
sculpture and defends the expressive power of ‘negro art’ had a profound affect on his outlook. However
it was the impact of the British Museum to which he returns again and again in his early years in London
and in his impassioned championship of ‘primitive’, tribal, and in particular, Mexican art of the Pre
-Columbian period in which he found a ‘common world-language of form’.
Moore’s involvement with ‘primitive art’ in the 1920s can be seen through the sketches he made in the
British Museum and copying plates in books. The earliest evidence of his interest in the Palaeolithic are
copies of the Venus of Grimaldi (1926), one of the best known figurative fertility images of pre-history.
But around 1930 Moore’s drawings reflect a new kind of interest in prehistoric artefacts: he appears to
have looked at books on prehistoric art with plates showing such items as flint tools, necklace beads
made from bone or teeth presented as human statuettes. Later, on a travelling scholarship to Italy, he
came under the monumental influences of Masaccio and Michelangelo.
INFLUENCES
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Modernism
There’s no doubt that the stand Brancusi took for
shape for its own sake, reducing a thing to just a
simple egg, was a great help to me who as I was,
twenty years younger than him. And the cubist
painters, the cubist movement, was an influence.
Henry Moore
Rodin and Medardo Rosso cleared the way.
Then Brancusi, at one end of the scale, simplified
the form, got people to look at shape again for
its own sake... And then much later a man like
Gonzalez with his welding brought a lot of
disparate elements together and made one single
unified thing out of it... Picasso realised that you
could make poetry out of objects that everyone
else had passed over, and that is one of the
fundamental inspirations of modern art. Then
there was the idea of the found object, the re
-interpretation of natural forms, the use of
materials discarded from ordinary life. The new
friendship, if you could call it that, between art
and anthropology has been of fundamental
importance to twentieth-century art.
Henry Moore
Geology / Prehistory
When I was very young... I was taken to see
a celebrated natural rock formation at Adel in
Yorkshire. Looking back I can now see that this
was a crucial and potently formative experience
from which so much of my fundamental attitude
to sculpture emanates. The sense of scale, the
feeling for stone, the need to think of sculpture
as something essentially monumental; something
to be placed out of doors and, so far as possible,
in a way that best reveals its inherent
monumentality.
Henry Moore
From my student days I have always been
interested in bone structure. The Natural History
Museum was so close to the Royal College of Art
that I spent much time there. The wonderful
collection of bones with such a variety of
structures was terribly exciting for me, particularly
the pre-historic bones which had become
fossilised almost into natural sculpture.
Henry Moore
INFLUENCES
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Literature
I don’t think that music or poetry, although one
has liked and enjoyed much in both, have made
any difference to the direction of my sculpture.
My reading was more of a formative influence
on my romantic youth. For a whole year of my
life Thomas Hardy coloured my outlook; I read
every novel of Thomas Hardy when I was around
seventeen or eighteen. One lived in that world
and it was a big influence on one’s make-up,
not as a sculptor but as a person. Then again
the same thing happened from twenty to twenty
-two; I read the whole of D. H. Lawrence with
the same kind of excitement I had once had
over Hardy. And the great Russian novelists,
Dostoevsky even more than Tolstoy – meant
a great deal to me. Somewhat later I read
Stendhal. It’s been novelists if anything who
have had the biggest influence on me… in
colouring one’s outlook, one’s growth.
Henry Moore
Landscape
Perhaps what influenced me most over wanting
to do sculpture in the open air and to relate my
sculpture to landscape comes from my youth in
Yorkshire; seeing the Yorkshire moors, seeing, I
remember, a huge natural outcrop of stone at a
place [Adel] near Leeds which as a young boy
impressed me tremendously – it had a powerful
stone, something like Stonehenge has – and also
the slag heaps of the Yorkshire mining villages,
the slag heaps which for me as a boy, as a young
child, were like mountains. They had the scale of
the pyramids; they had this triangular, bare, stark
quality that was as though one were in the alps.
Perhaps those impressions when you’re young
are what count.
Henry Moore
INFLUENCES
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Sheep
I have always liked sheep in fields and when we got the extra bit of land at the bottom of our garden,
which had been grazed by sheep, we let the farmer continue using it. This way I saw them from the studio
every day. At this time came a period when the transport people were here packing sculpture for a large
exhibition [Florence 1972] and the sculpture studios were made impossible to think or work in. There was
so much movement and noise, I retreated into my little studio, which has windows straight on to the field
and in between other things, just for the fun of it, I began sketching sheep and the landscape and the bit
of hill where I intend to put sculpture. Then I discovered that by tapping on the window when the sheep
came quite close, they would stop and look to where the sound came from, but being in a brightly lit
landscape and looking at a darkened room, they could not see anything – you can’t see from brightness
into darkness so easily.
Being like sheep they looked like sheep, they had a sheepish look and they would just stare and stand still
for nearly five minutes, you could say in a professional manner, so that I could spend longer trying to draw
them, and I found too that by tapping a second time if they started to move, I could get them to pose for
another two or three minutes, in this way I gradually became more interested in them. Then came the
lambing time and the kind of mother and child scene that I’ve often had in my sculpture. It was then that
I thought I would try to see the sheep through, making a kind of cycle, from the birth of the lambs to the
lambs growing up and the sheep being shorn. The trouble is that when they are shorn they look so pathetic
– they’re so miserable – they probably feel miserable, having had so much marvellous protection. The cycle
therefore unfortunately ends with the sheep looking less attractive, less like sheep, they begin to look more
like the family they are, the deer family, the goat family.
I filled a whole sketch book with some forty to fifty pages of drawings, and it’s from these pages that I
chose the ideas and the little scenes that I thought were most typical and summed up a particular point
of view about sheep. I found that to begin with their shapes just looked like balls of wool, their coats were
so thick that no form was visible and yet the form underneath is the basis on which their shape comes.
Afterwards I saw that they had to be articulated, there were legs and bones underneath and gradually in
the drawings I learned more about their anatomy, which becomes more apparent when sheep are shorn.
There was a logical procedure by first seeing them as simple shapes, to gradually learning their true forms
when they had been shorn and no longer had their coats.
People may think it’s funny that someone like Henry Moore should draw sheep, as though it’s unnatural to
want to draw from nature, as though one should become what you may call a sculptor of forms that are
half invented, as though you shut your eyes to nature. It’s a silly attitude; I see no difference, it’s just two
points of view in your attitude to form; one you draw directly from nature, the other you use your sum total
of information and repertoire from nature. You are imagining or evolving a sculpture idea, but the two are
not contrary activities; not to me.
Henry Moore
INFLUENCES
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Human Form
Our own body, our own make up, is the biggest influence of mine, but figures are also landscapes.
It was in making the wartime shelter drawings that I became especially aware of the form function of
drapery. Having to draw sleeping people covered with blankets or with coats and old garments scattered
over them gave me an interest in drapery and its relationship to the figure. Drapery can emphasise the
tension in a figure, for where the form pushes outwards, as at the shoulders, the thighs, the breasts, etc.,
the drapery can be pulled tight across the form (almost like a bandage), and, by contrast with the
crumpled slackness of the drapery, which lies between the salient points, the pressure from inside is
intensified. Drapery can also, by its direction over the form, make each section more obvious – that is,
show shape. It need not be just a decorative addition, but can serve to stress the sculptural idea of the
figure.
One of the things I would like to think my sculpture has is a force, is a strength, is a life, a vitality from
inside it, so that you have a sense that the form is a pressing form inside, trying to burst or trying to give
off the strength from inside itself, rather than having something which is just shaped from the outside
and stopped. It’s as though you have something inside trying to make itself come to a shape from inside
itself. This is, perhaps, what makes me interested in bones as much as in flesh because the bone is the
inner structure of all living forms. It’s the bone that pushes out from inside; as you bend your leg the knee
gets a tautness over it, and it’s there that the movement and the energy come from. If you clench a
knuckle, you clench a fist, you get in that sense the bones, the knuckles pushing through, giving a force
that if you open your hand and just have it relaxed you don’t feel. And so the knee, the shoulder, the skull,
the forehead, the part where from inside you get a sense of pressure of the bone outwards – these for
me are the key points.
Some people have said, why do I make the heads so unimportant. Actually, for me the head is the most
important part of a piece of sculpture. It gives to the rest a scale, it gives to the rest a certain human poise
and meaning, and it’s because I think that the head is so important that I reduce it in size to make the rest
more monumental. It’s a thing that, anyhow, was done. The heads of Michelangelo’s figures will sometimes
go twelve times instead of the usual six and a half [into the body], which is the average. It is a recognised
thing.
Henry Moore
ARTISTIC BELIEFS AND OPINIONS
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Who is the sculptor / artist?
An artist should not be controlled by the opinions of critics. With friends it may be different. For example,
I ask Irina whether she thinks certain drawings or sculptures should be sent to one exhibition or another.
Again, I might ask friends such as Herbert Read or Kenneth Clark which idea out of several drawings they
think is better for a certain project. But I wouldn’t ask either of them whether they think I should follow
a certain direction or not, or how I should do a certain sculpture. A painter might ask his framer for advice
on the framing of a picture, but he would never ask how to paint the picture.
I think a sculptor is a person who is interested in the shape of things. A poet is somebody who is interested
in words; a musician is someone who is interested in or obsessed by sounds. But a sculptor is a person
obsessed with the form and the shape of things, it’s not just the shape of any one thing, but the shape
of anything and everything: the growth in a flower; the hard, tense strength, although delicate form of
bone; the strong, solid fleshiness of a beech tree trunk. All these things are just as much a lesson to a
sculptor as a pretty girl – as a young girl’s figure – and so on.
Henry Moore
What is sculpture?
At one time I used to think that carved sculpture… was the best sculpture…. But now I don’t think that it
matters how a thing is produced, whether it’s built up, modelled, welded, carved, constructed or whatever.
What counts really is the vision it expresses… that is, it’s the quality of the mind revealed behind it, rather
than the way it’s done.
Sculpture is an art of the open air. Daylight, sunlight, is necessary to it, and for me its best setting and
complement is nature. I would rather have a piece of my sculpture put in a landscape, almost any
landscape, than in, or on, the most beautiful building I know.
Henry Moore
ARTISTIC BELIEFS AND OPINIONS
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Form
Eventually I found that form and space are one and the same thing. You can’t understand space without
understanding form. For example, in order to understand form in its complete, three-dimensional reality,
you must understand the space that it would displace if it were taken away. You can’t measure a space
without measuring from one point to another. The heavens have space that we can understand because
there are points – the stars and the sun – that are different distances way from each other. In the same
way we can only see space in a landscape by relating the foreground and middle distance to the far
distance. To understand the distance from my thumb to my forefinger needs exactly the same
understanding as distances in landscape.
In my opinion, long and intense study of the human figure is the necessary foundation for a sculptor.
The human figure is most complex and subtle and difficult to grasp in form and construction, and so it
makes the most exacting form for study and comprehension. A moderate ability to ’draw’ will pass muster
in a landscape of a tree, but even the untrained eye is more critical of the human figure – because it is
ourselves.
Henry Moore
ARTISTIC BELIEFS AND OPINIONS
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Abstraction
The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary.
All good art has contained both abstract and surrealist elements, just as it has contained both classical
and romantic elements – order and surprise, intellect and imagination, conscious and unconscious.
Both sides of the artist’s personality must play their part. And I think the first inception of a painting
or sculpture may begin from either end. As far as my own experience is concerned, I sometimes begin
a drawing with no preconceived problem to solve, with only the desire to use pencil on paper, and make
lines, tones and shapes with no conscious aim; but as my mind takes in what is so produced, a point
arrives where some idea becomes conscious and crystallises, and then a control and ordering being to
take place. Or sometimes I start with a set subject; or to solve, in a block of stone of known dimensions,
a sculptural problem I’ve given myself, and then consciously attempt to build an ordered relationship
of forms, which shall express my idea. But if the work is to be more than just a sculptural exercise,
unexplainable jumps in the process of thought occur, and the imagination plays its part.
Henry Moore
ARTISTIC BELIEFS AND OPINIONS
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Natural Light
A critic wrote that sunlight was cruel to art, but he probably only meant cruel to painting. Painting in its
final state is an indoor art. You can’t expose a Rembrandt or a Cezanne to full sunlight and expect it to
look its best. Painting is an illusionistic art, a substitute for reality. But good sculpture can be at home
out of doors because it is a real thing as a tree is real.
The sky is one of the things I like most about ‘sculpture with nature’. There is no background to sculpture
better than the sky, because you are contrasting solid form with its opposite space. The sculpture then
has no competition, no distraction from other solid objects. If I wanted the most fool-proof background
for a sculpture, I would always choose the sky.
Henry Moore
Human Experience
I agree that artists being human beings, human experience is the only experience we have got to work
from. Even the most abstract artists of all who want to divorce their work from any representational
element, when they want to show that their work is more than design or pleasant decoration have to
use analogies to Greek skies or effects like deer passing through woods.
Henry Moore
PROCESS
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Carving
The removal of the Greek spectacles from the eyes of the modern sculptor (along with the direction
given by the work of such painters as Cézanne and Seurat) has helped him to realise again the intrinsic
emotional significance of shapes instead of seeing mainly a representational value, and freed him to
recognise again the importance of the material in which he works, to think and create in his material
by carving direct, understanding and being in sympathy with his material so that he does not force it
beyond its natural constructive build.
Henry Moore
I began believing in direct stone carving, in being true to the material by not making stone look like flesh,
or making wood behave like metal.
Henry Moore
Using Corsehill stone, or indeed any other English material, was a kind of artistic political decision.
My father thoroughly researched using English stone as he became closely connected to a movement
called ‘direct carving’. In reaction to the Royal Academy and other academic schools using marble, they
decided that they were only going to carve directly into English stone. So he used Portland stone, Blue
Horton and Corsehill stone among others, always going directly to their quarries.
Mary Moore
In later years Moore used travertine marble for several large figures, particularly the UNESCO Reclining
Figure. However, the choice is rare among his early works, when he was eager to explore the potential
of stone indigenous to the British Isles. Travertine marble, in contrast, is quarried in Italy near Tivoli. The
advantage for Moore of using travertine was no doubt the open texture of this hard material, which is
not really a marble at all, but a crystalline stone whose geology is formed by deposits of calcium carbonate
accruing near hot springs. In some ways, therefore, its texture was related to what he could form artificially
by using cast concrete; however, instead of the problems that he encountered with a mainly additive
method, he could concentrate on direct carving from a given size of block.
PROCESS
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Drawing
My drawings are done mainly as a help towards making sculpture – as a means of generating ideas
for sculpture, tapping oneself for the initial idea; and as a way of sorting out ideas and developing them.
Also, sculpture compared with drawing is a slow means of expression, and I find drawing a useful outlet
for ideas, which there is not time enough to realise as a sculpture. And I use drawing as a method
of study and observation of natural forms (drawings from life, drawings from bones, shells etc.).
And I sometimes draw just for its own enjoyment.
Experience though has taught me that the difference there is between drawing and sculpture should
not be forgotten. A sculptural idea, which may be satisfactory as a drawing, always needs some alteration
when translated into sculpture… As far as my own experience is concerned, I sometimes begin a drawing
with no preconceived problem to solve, with only the no conscious aim; but as my mind takes in what is
so produced, a point arrives where some idea becomes conscious and crystallised, and then a control
and ordering begin to take place.
Henry Moore
Until 1937 sculptures are only occasionally given a landscape setting in Moore’s drawings, appearing more
often around that time than in earlier years. But after 1937 this theme became increasingly of interest.
Almost all the settings in Moore’s drawings are imaginary, but in several pages such as Sculptural Object
in Landscape (1939), the artist identified the landscape as the valley and distant hills behind his cottage
at Kingston.
In many of my drawings for sculpture I have placed objects in space, sometimes indoors and sometimes
in a landscape. I think my attempt to draw spatially is parallel to my early tendency to make holes in
carvings: a hole in a piece of stone gives it thickness and depth by connecting the back to the front.
The sculptor is – or should be – no less concerned with space than the painter. He should show that
whatever he is drawing has a far side to it, by making it an object surrounded by space rather than an
object in relief – that is, half an object stuck on paper. He must demonstrate its existence beyond the
surface of the paper by using any technique of wash, smudge or shading that can break the tyranny
of the flat plane of the paper and open up the suggestion of space.Mystery plays a large and enlivening
part in our lives: not knowing but wanting to know, wondering and guessing, questioning and exploring.
We are perpetually intrigued and fascinated by the unknown.
Henry Moore
PROCESS
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Bronze
There are two main methods of bronze casting – the ‘sand’ process and the ‘lost wax’ process, which
I used. In this method, the founder makes a wax replica of the sculptor’s original work. This replica is
covered with a mixture of water, plaster and powder made from ground-up pottery – called grog – and
this mixture sets hard, leaving the wax buried inside it. This mould is then baked in a kiln, when, through
a hole left in the mould, the wax melts and runs out (is ‘lost’), so you now have a space inside the mould
exactly the shape of the original [work], and into this hole you pour the molten bronze, and because
of the baking in the kiln, the mould is conditioned to resist the enormous heat of the molten bronze.
I like using plaster as the preliminary material for my bronzes. When people talk about ‘truth to material’
it doesn’t strictly apply to bronze, because a sculptor does not take a solid piece of bronze and cut it into
a shape as he does a piece of stone. For a bronze, he first has to make his original in something else.
The special quality of bronze is that you can reproduce with it almost any form and any surface texture
through expert casting. However, if you desire to achieve the real metallic quality of bronze, it is necessary
to work on the surface of the sculpture after it has been cast.
I work out and apply all patinas myself. The chemical composition largely determined by the climatic
conditions in which the particular work is going to be set… for instance, in itself bronze contains 90
percent copper, a substance that is highly susceptible to atmospheric conditions. Near the sea a patina
will change more rapidly to a green than it will in an atmosphere, which is not fresh and clean. In an
industrial atmosphere, laden with its many impurifications, the same patina will become black.
Henry Moore
PROCESS
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Orientation
In 1954 I was asked to do a sculpture for the
courtyard of Olivetti’s new office building in
Milan. I went out to Milan and met the architect
and we looked together at the building then in
construction. We both agreed that, for contrast,
any sculpture done in relation to the building
should have an upright rhythm, rather than a
horizontal or squarish proportion. A lone Lombardy
poplar growing behind the building convinced
me that a vertical work would act as the correct
counterfoil to the horizontal rhythm of the
building. This idea grew ultimately into the
Upright Motives.
Henry Moore
Materiality / Scale
I have always liked sculpture in the open air and
I like making sculpture which will stand outside in
nature, and now I’m able for all sorts of practical
reasons to satisfy my desire, whereas in earlier
days they had to be small in size. You can’t make
a small piece of sculpture stand outside in nature.
It just gets lost. It depends on its position in the
landscape or in a field or in a garden whether you
want to make a thing much over life-size or not
quite life-size. But on the whole for out-door
sculpture it should be over life-size, because open
air reduces a thing in its scale. If you stand a real
man on a pedestal in front of some public statues,
one would find how much bigger they are even
when things which look life-size, have to be.
Henry Moore
PROCESS
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Studio
I like this little studio. I am always very happy there. I like the disarray, the muddle and the profusion
of possible ideas in it. It means that whenever I go there, within five minutes I can find something to
do which may get me working in a way that I hadn’t expected, and cause something to happen that
I hadn’t foreseen.
Almost every sculpture of any size that I’ve made has been done in the open air. That’s why I live in the
country. When I have to work in the studio the figure, or group I’m working on can always be pushed out
through the studio’s double doors so that I can see what it looks like under the sky and in relation to the
scale of the trees. Indoors, one can put a piece of sculpture under a flattering light and kid oneself that
what only half exists is already there, but the open air will show up the limitations of any sculpture that
doesn’t fully exist in three dimensions. A sculpture fails to be a presence under the diffused light of the
sky if it isn’t fully conceived in the round.
Irina loves the garden and she works as hard in it as I do in the studio. I give her practically no help, except
perhaps now and then I wheel a heavy barrow to the rubbish dump. Irina has changed five acres of ground
of barbed-wired chicken runs, rhubarb patches, piggeries, etc., into a simple and excellent setting for my
sculpture, which is a great help and asset. Without that piece of ground I cannot imagine how I could have
produced some of the large sculptures that I have done in the last ten years. If a large sculpture has to be
made in a studio, it would be impossible to get away from it, and I would tend to work on its surface rather
than on its bigger architectural forms. In our garden, I can place the sculptures and see what they look like
from a distance and in all weather conditions.
Henry Moore
THEMES
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The Reclining Figure
There are three fundamental poses of the human
figure. One is standing, the other is seated, and
the third is lying down. Now if you carve the
human figure in stone, as I do, the standing pose
is no good. Stone is not so strong as bone, and
the figure will break off at the ankles and topple
over. The early Greeks solved this problem by
draping the figure and covering the ankles. Later
on they supported it against a silly tree trunk.
But with either the seated or the reclining figure
one doesn’t have this worry. And between them
are enough variations to occupy any sculptor for
a lifetime. In fact if I were told that from now on
I should have stone only for seated figures I
should not mind at all. But of the three poses,
the reclining figure gives the most freedom,
compositionally and spatially. The seated figure
has to have something to sit on. You can’t free it
from its pedestal. A reclining figure can recline on
any surface. It is free and stable at the same time.
It fits in with my belief that sculpture should be
permanent, should last for eternity. Also it has
repose. And it suits me – if you know what I mean.
Henry Moore
Two piece and three piece compositions
I realised what an advantage a separated two
piece composition could have in relating figures
to landscape. Knees and breasts are mountains.
Once these two parts become separated you
don’t expect it to be a naturalistic figure;
therefore, you can justifiably make it like a
landscape or a rock. If it is a single figure, you
can guess what it’s going to be like. It if is in two
pieces, there’s a bigger surprise, you have more
unexpected views; therefore the special advantage over painting, of having the possibility of
many different views – is more fully exploited.
The front view doesn’t enable one to foresee the
back view. As you move around it, the two parts
overlap or they open up and there’s space
between. Sculpture is like a journey. You have
a different view as you return. The three
-dimensional world is full of surprises in a way
that a two-dimensional world could never be.”
Henry Moore
THEMES
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Mother and Child
From very early on I have had an obsession with the Mother and Child theme. It has been a universal
theme from the beginning of time and some of the earliest sculptures we’ve found from the Neolithic Age
are of a Mother and Child. I discovered when drawing, I could turn every little scribble, blot or smudge into
a mother and Child. (Later, I did the same with the Reclining Figure theme!) So that I was conditioned, as
it were, to see it in everything. I suppose it could be explained as a ‘Mother’ complex.
Henry Moore
Moore often explained his fixation with the Mother and Child in straightforward compositional terms
– the relationship of a small form with a big form – and ideas of protection and nurture. Yet the sculptures
reveal a more complex treatment of the theme. Moore admired the unsentimental handling of North
American mother-and-child figures, and their influence can be found in his approaches to the relationship.
Although physically bonded, the intimacy of Moore’s figures is ambiguous: heads twist and look away,
bodies are kept at arm reach and the gaze of mother and infant is rarely met. In Suckling Child (1930)
the forms are abstracted with the mother defined only by the breast from which the baby feeds.
Mother and Child 1967
Rosa aurora marble
This carving executed in Portuguese Rosa Aurora marble intimately conveys Moore’s devotion to the
subject of the mother and her offspring: although not directly figurative, it powerfully illustrates the
closeness of their bond. Moore uses the red veining of the marble to great effect in the fluid shape of the
two forms, suggesting their reliance upon each other for a sense of vitality and potency. The two pieces
are indeed almost interchangeable, the larger suggesting the decapitated head of the mother, with the
protruding element seen as either a breast, or an arm guiding the child’s head towards it. However, the
larger form could also be interpreted as a child with an open mouth, with the smaller piece in turn
becoming the mother’s breast.
WORKS
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Coalmining drawings
My father went back into the mines to do these
drawings over a number of weeks in 1942. In his
first days down there he really didn’t know how
people survived, though by the time he’d been in
those tunnels a while he felt just about able to live
with it. For him these weren’t political drawings.
What particularly interested him was how people
functioned within these unbelievably cramped
mine shafts back in the 1940s, because you
couldn’t stand up in those spaces, and they were
dimly illuminated and without the ventilation
systems of today. He was interested in the
vulnerability of the human form fitting into these
horrific, claustrophobic spaces with a mile of earth
pressing down on them from above and only
wooden props and rudimentary engineering
holding all that up.
Mary Moore
Upright Motives
I started by balancing different forms one above
the other – with results rather like the Northwest
American totem poles – but as I continued the
attempt it gained more unity and also perhaps
became more organic – and then one in particular
(later to be named the Glenkiln Cross) took on
the shape of a crucifix – a kind of worn-down
body and a cross emerged into one.
Henry Moore
WORKS
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Stonehenge drawings and lithographs
The Stonehenge series of drawings and lithographs and the Auden illustrations were done only a
few months apart. The Stonehenge drawings gave me a taste for using deep blacks and increased
my feeling for the medium of lithography. The ‘Elephant Skull’ series has also some connection with the
Auden illustrations. What excited me about the elephant’s skull and made me want to study it by drawing
was the surprising contrasts of form contained in it – some parts were very thick and strong, others
almost paper thin – and its intricate and mysterious interior structure, with perspective and depths like
cave and columns and tunnels.
The Elephant Skull series are etchings; the Stonehenge and the Auden series are lithographs. Of the two
mediums I prefer etching. Technically and physically I like using the fine point of an etching needle on metal
rather more than soft chalk on stone. I began the Stonehenge series with etching in mind, but as I looked
at, and drew, and thought about Stonehenge, I found that what interested me most was not its history,
nor its original purpose – whether chronological or religious – or even its architectural arrangement, but
its present-day appearance. I was above all excited by the monumental power and stoniness of the
massive man-worked blocks and by the effect of time on them. Some 4000 years of weathering has
produced an extraordinary variety of interesting textures; but to express these with an etching needle
was very laborious, and after making two or three etchings I changed to lithography which I found more
in sympathy with the subject – lithography, after all, is drawing on stone.
Soon after settling into my digs, a tiny bedroom in Sydney Street, Chelsea, (it must have been towards
the end of September or early October 1921) I decided one weekend to go and see Stonehenge. I took
the train to Salisbury arriving in the early evening, found a small hotel but by this time it was getting dark.
After eating I decided I wouldn’t wait to see Stonehenge until the next day. As it was a clear evening I got
to Stonehenge and saw it by moonlight. I was alone and tremendously impressed. (Moonlight, as you know
enlarges everything, and the mysterious depths and distances made it seem enormous). I went again the
next morning, it was still very impressive, but that first moonlight visit remained for years my idea of
Stonehenge. In the two or three lithographs I’ve tried to remember this moonlight effect. In those days,
like many other things now spoiled by crowds, I don’t remember anyone else being there, in the evening,
or in the daytime.
Henry Moore
WORKS
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Shelter Drawings
Moore started his drawings of people sheltering in the London Underground after returning home from
a dinner party on 11 September 1940 and was forced by an air raid to take cover in Belsize Park Station.
He discovered people sheltering and started to draw them, later working the initial sketches up in his
Hertfordshire studio.
I went into London two or three days a week to do my shelter drawings. It’s curious how all that started.
The official shelters were insufficient. People had taken to rolling their blankets about eight or nine o’clock
in the evening, going down into the tube stations and settling on the platforms. The authorities could do
nothing about it. Later on, the government began to organise things better. They put in lavatories and
coffee bars down there and began building four-tiered bunks for the children. It was like a huge city in the
bowels of the earth. When I first saw it quite by accident – I had gone into one of them during an air raid
– I saw hundreds of Henry Moore Reclining Figures stretched out along the platforms. I was fascinated,
visually. I went back again and again.
Henry Moore
WORKS
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Head of the Virgin 1922-23
Marble
Head of the Virgin is one of Moore’s first
surviving works, and for the period one of the
most remarkable, showing a strong portent in
terms of the authority his work would display. His
perception and understanding of sculpture other
than his own was outstanding from his earliest
years and this copy, which adheres closely to the
original, is compelling evidence of a precision and
awareness far in advance of most artists in their
early twenties. Copies by young artists often
display more about the limitations of the copier
than an understanding of the original, but here
the part of the original Moore has chosen to
copy has become his own - he uses that part
and composes it as a separate composition in
its own right, composing it in relationship to the
shape of the original block of stone.
Bernard Meadows, 1998
Mother and Child 1924-5
Hornton stone
These two examples of Moore’s early work,
sculpted during his time at the Royal College of
Art in London, demonstrate the polarities of his
early sculptural style. The Head of the Virgin
is a copy of a Rosselli relief and shows acute
observation and respect for Renaissance pre
-occupations with naturalism and the classical
rendering of the human form. Conversely, his
Mother and Child demonstrates Moore’s
dedication to, and love of, the ‘primitive’ forms
that he encountered through the African, Mexican
and Pre-Columbian exhibits in the British Museum.
The block-like character suggests the totemic
energy of ‘primitive’ idols and reflects expressive
power rather than fluid naturalism. These two
sculptures indicate Moore’s separation of his
academic training in classicism and his personal
concerns with the ‘primitive’.
Bernard Meadows, 1998
WORKS
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West Wind 1928
Portland stone
St James’s Underground Building, London
Moore’s artistic pre-occupations with more
‘primitive’ and expressive sculptural forms are
demonstrated in this first public commission.
Moore was one of seven sculptors requested
by the architects, led by Charles Holden, to
produce works for the new London Underground
headquarters at St James’ Park station. Moore
chose to sculpt his relief of the West Wind in
a style emanating both strength and power. His
figure has tremendous bulk and powerful limbs,
suggesting that his primary consideration was
in the force of the West Wind rather than in its
movement. The relief has a strong relationship to
‘primitive’ carving and is relevant to the presence
of Jacob Epstein’s figures of Night and Day on
the same underground station.
Richard Cork, 1985
Reclining Figure 1929
Brown Hornton stone
In this Reclining Figure, the culmination of his
early period, Moore seems to have successfully
combined the two streams of his sculptural
training - the ‘primitive’ and the ‘classical’. This
figure demonstrates both his debt to ‘primitive’
sculpture - most particularly the figure of the
Mayan Rain-God, the Chacmool. This sculpture
demonstrates Moore’s incredibly astute sense
of volume and monumentality. His often-repeated
doctrine of ‘truth to material’ appears to be
embodied here in this piece. The posture of the
reclining woman pays homage to the shape of the
original stone block, her raised left arm, massive
right shoulder and forearm keep the figure
restrained in a rectangular formation, which
imbues the figure with a kind of ‘squat dignity’.
David Sylvester, 1948
WORKS
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The Helmet 1940
Lead
This figure is relevant both to Moore’s experience
of the war and to his interest in the theme of the
mother and child. The outer shell of The Helmet
covers an interior form that resembles a human
-like figure. It suggests a disturbing, menacing
exterior, threatening and imprisoning the weaker,
interior figure, but it can also be seen as a
protective image - the exterior helmet cradling
the interior being like a mother protecting her
child, or a womb cushioning the embryo within.
Certainly, it is appropriate to Moore’s previous and
future concerns (he pursued the idea of the
embryo within in his later Internal/External
forms), that this piece is evocative of the
protection of a mother for her child; however,
the presence of the helmet also reflects Moore’s
contemporary concerns regarding the war and its
potential consequences for the nation and the
world at large.
Madonna and Child 1943-44
Hornton stone
The Reverend Walter Hussey commissioned the
Madonna and Child to mark the celebration of
the fiftieth anniversary of St Matthew’s Church
in Northampton. The sculpture reflects a more
naturalistic tone than that seen in Moore’s pre
-war works, and seems very much related to the
Shelter Drawings in its use of drapery and in the
rendering of the human form. The sculpture also
expresses Moore’s acknowledgement that a
portrayal of a Madonna requires an alternative
stylistic approach to that of the Mother and Child:
The Madonna and Child should have an austerity
and nobility and some touch of grandeur (even
hieratic aloofness) which is missing in the everyday Mother and Child idea.
Henry Moore
WORKS
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King and Queen 1952-53
Bronze edition of 5+2
Moore created King and Queen partly in response
to the incredible public enthusiasm surrounding
the impending coronation of Queen Elizabeth II
and partly as an exercise in wax modelling. The
figurative group seems to possess an eternal
quality of wisdom and splendour, while its
simplified bony heads and thinly contoured bodies
suggest ancient, symbolic notions of royalty as a
divine position. The naturalistic rendering of the
hands and feet in Moore’s composition, however,
still indicate a strong human element and give both
the King and the Queen distinctive personalities.
UNESCO Reclining Figure 1957
Roman Travertine marble
UNESCO Headquarters, Paris
The United Nations Educational, Scientific and
Cultural Organization, established in 1946 ‘to
promote the pursuit of knowledge in the cause
of peace and mankind’s welfare’ commissioned
this figure for their new Headquarters in Paris.
After many months and numerous discarded
ideas, Moore decided to design an ‘outsize
reclining figure, executed in the same Roman
Travertine stone which was being used at the
top of the building’.
The resultant piece is an incredible sculptural
achievement. At five metres long, and weighing
over 60 tonnes it had to be made in four pieces
for transportation purposes before being
reassembled on the site. Although in a reclining
pose, the UNESCO woman strikes the viewer
as the image of a great protector - a powerful
mother figure, strong and indestructible.
WORKS
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Reclining Figure: Bunched 1961-69
Travertine marble
Moore’s frequent trips to Italy during the carving
of the UNESCO piece resulted in the acquisition
of a holiday home at Forte dei Marmi in 1965 and
an abundance of sculptures carved in marble
during the 1960s.
This figure is a strikingly odd piece. The rough
texture of the marble gives the impression
that the material has been eaten away by
the movement of sand. It appears to have an
incomplete quality, imbuing it with a desperate
energy – almost as if a suffocating figure is coiling
and writhing to free itself from the skin of marble
that obscures its features.
Hill Arches 1973
Bronze edition of 3+1
The 1970s was a decade dominated by large
bronze pieces. Works such as Sheep Piece
(1971-72) and The Arch (1979-80) are important
examples of Moore's use of this material on a
monumental scale. The majority were cast at
either the Hermann Noack foundry in Berlin or
the Morris Singer Foundry in Basingstoke. Moore's
relationship with these two firms enabled him to
expand his vision for many sculptural ideas, which
had initially been created in the form of small
‘maquettes’. These were tiny plaster or clay models
made as a type of three-dimensional sketch.
Through these he was then able to envisage the
size and scale of the sculpture that he wished to
be enlarged and cast in bronze.
WORKS
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Large Four Piece Reclining Figure 1972-73
Bronze edition of 7+1
The reclining figure has been the most enduring
of Moore’s themes, whether it be realistic and
draped in a single piece or, more expressively,
divided and identified with landscape. The mind
is left free to fill in the shapes between each
segment. Large Four Piece Reclining Figure
is one of Moore’s most abstract inventions and
almost surrealist in its effects. There is a wonderful
tension between the tangible and the intangible.
Moore never committed himself to a particular
artistic movement but his awareness of the whole
range of effective sculptural statements was an
innate and constant factor in his mind. His purpose
was to invent and experiment as his imagination
suggested.
John Read, 1998
Reclining Figure: Angles 1979
Bronze edition of 9+1
In the final years of his life Moore, inevitably, was
unable to continue producing the sheer volume
of work he had created throughout his career,
and many of the pieces cast and dated in the
1980s were actually conceived in previous
decades. Reclining Figure: Angles, with its
severely twisted neck and feet flat on the floor,
refers directly back to the Mexican Chacmool
figures which so influenced Moore in the 1920’s.
In this work, however, he also utilises the breadth
of creative techniques developed over the years,
for instance using drapery to cover the body of
the woman to indicate her tense alertness.
QUOTES BY MOORE
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The sculpture which moves me most is full-blooded and self-supporting, fully in the round, that is, its
component forms are completely realised and work as masses in opposition, not being merely indicated
by surface cutting in relief; it is not perfectly symmetrical, it is static and it is strong and vital, giving out
something of the energy and power of great mountains. It has a life of its own, independent of the object
it represents.
Wordsworth often personified objects in nature and gave them the human aspect, and personally I have
done rather the reverse process in sculptures. I’ve often found that by taking formal ideas from landscape,
and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the
same effect as a metaphor in painting.
I always have a vague idea of what I want to do, which only emerges when the time comes to do it
I have always enjoyed landscape and responded to a natural, outdoor environment, rock and hills, the shape
of the earth, the sight of trees and clouds and sky. I like my large sculptures to be outdoors in landscape.
There have been two major influences on my work. The main one, perhaps, is drawing and modelling from
the human figure – I have looked at the nude for half my life. Our own bodies, our own make up, have the
greatest influence on art. If we were able to sleep on all fours or were the size of an elephant, for example,
our architecture would be entirely different from what it is, so would our art. We know from our hands what
things are much better than we would if we had hooves. From our bodies we understand nature; we can’t
get away from it and if the landscape were different so would our lives be. So the first influence on me
came from studying, and trying to understand, the human figure.
I think drawing ought to be taught seriously, even in primary schools, as a general part of education, much
more than it is, not with the idea of producing a lot of painters and sculptors, but to get people to look,
to use their eyes. Children are taught that language is a way of communicating between minds, and that
music is communication through the ears, but they are not taught to use their eyes to understand nature,
and to get nourishment from the visual arts, sculpture and painting. If they are made to draw something,
they have to look at it; they may make a very poor drawing, but what matters is that for a short time they
have looked intensely at something.
I feel sorry for people who go through life never really seeing the world about them. Everyone thinks they
look, but they don't; they don't have the time, or the training, to open their eyes to the marvellous world
we live in. The whole value of all the arts is to develop our experiences of life through our senses; a sculpture,
for example, can make us realise what wonderful forms and shapes there are in the world, and what can be
invented by human beings. People often fail to appreciate certain works of art because they think that art
must be ‘beautiful’ and they have a preconceived idea of what beauty is. But beauty to me is having nature
revealed, and nature has lots of sides, not all of them graceful, or whatever people think is beautiful. Nature
has power, it has force, it has violence and pain - all these things. And even pain is necessary to understand
what comfort means. Repose, similarly, can teach you about violence; people must understand the opposite
of something in order to know what it really is.