Dimension 50 x 31 x 28 CM Media ANCASTER STONE Accession number P48. Often regarded as the father of modern British sculpture, Henry Moore’s large-scale bronze and marble sculptures can be found in public parks and plazas around the world. Keep up to date with Tate events, exhibitions and news, © The Henry Moore Foundation. Henry Moore: Sculptural Process and Public Identity, Lyndsey Morgan, 'Technique and Condition', January 2014, in Alice Correia, ‘, 'I tried to push him down the stairs': John Berger and Henry Moore in Parallel, Lyndsey Morgan and Rozemarijn van der Molen. Henry Moore: Sculpture and … ), Moore had represented the subject before with, Herbert Read, ‘New Aspects of British Sculpture’, in. There are no inscriptions on the sculpture. Although Moore was sent a copy of Neumann’s book, he famously refused to read it, not wanting to know how his mind worked. Artwork page for ‘Mother and Child’, Henry Moore OM, CH, 1976 Constructing Post-War New British Sculpture through Exhibition Practices’. Jane Lascelles, letter to Henry Moore, 1 June 1961, Tate Public Records TG/20/6/1. Henry Moore: Sculpture and Drawings; with an introduction by Herbert READ. In 1960 Moore explained why he built the furnace in his garden: ‘at one period of my career I thought I ought to know how bronze casting was done, and I did it myself at the bottom of the garden, along with my two assistants. CANADA. Lyndsey Stonebridge, ‘A Love of Beginnings: Henry Moore and Psychoanalysis’, in Chris Stephens (ed.). Henry Moore, ‘Henry Moore Talks About his Life as a Sculptor’, Julian Stallabrass, ‘Henry Moore: Mother and Child’, in. The brown colours of this sculpture were probably made using potassium polysulphide. The sense of menace evoked by these sharp, teeth-like forms is heightened by four more raised ridges on the right side of her face. Mother and Child. Acquired directly from the artist by the Friends of the Tate Gallery, by whom presented to Tate in 1960. Henry Moore Sculptures ; Henry Moore Catalogue Raisonné: 1930-1939; Exhibitions. The mother sits on the two-legged bench with her legs pressed closely together and her feet planted firmly on the base (fig.1). Mother and Child, from the Italian edition of The Shelter Sketchbook, 1967, Two Standing Figures with Studies on the Left, circa 1950, Three Sculptural Forms, from La Poésie [Cramer 320], 1973, Petals, from La Poésie [Cramer 319], 1974, Two Upright Motives, 1966 (C. 64) and The Observers, 1981, Teddy Boy and Girl 1955 (Second Version 1974), 1974, SEVEN PIECES OF WOOD FOR: A SEVEN DAY WALK IN THE ROCKY MOUNTAINS OF ALBERTA. Henry Moore: Complete Sculpture, Volume 1, Sculpture 1921-48. Henry Moore Sculptures; Henry Moore Catalogue Raisonné: 1930-1939; Description. Working in various styles and mediums, Moore is perhaps best known for his highly abstract and interpretive renditions of the human figure, often portrayed in the reclining position. Perhaps because of its violent subject matter. The original plaster and a bronze cast is held at the Henry Moore Foundation, Much Hadham, UK. Moore began exploring the reclining figure motif in a series of drawings he made in the late 1920s--nearly sixty years before creating this sculpture. Jane Lascelles, letter to Henry Moore, 1 June 1961, Tate Public Records TG/20/6/1. MOTHER AND CHILD 1936 Henry Moore (1898 – 1986) Details. Henry Moore: Complete Sculpture, Volume 1, Sculpture 1921-48. He is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art.As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on …
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