This time, the project was completed and Family Group became Moore’s first large-scale public bronze.
 Given to the City of London by Moore and the Contemporary Art Society in 1967, Knife Edge Two Piece 1962–65 is displayed in Abingdon Street Gardens, opposite
the Houses of Parliament, where its regular appearance in the background of televised news reports from Westminster makes it Moore’s most prominent piece in Britain.
 In 1953, he completed a four-part screen carved in Portland stone for the Time-Life Building in New Bond Street, London, and in 1955 Moore turned to his first and
only work in carved brick, Wall Relief at the Bouwcentrum in Rotterdam.
 Moore in his studio in England (1975), by Allan Warren The last three decades of Moore’s life continued in a similar vein; several major retrospectives took place around
the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence.
At the 1952 Venice Biennale, eight new British sculptors produced their Geometry of Fear works as a direct contrast to the ideals behind Moore’s idea of Endurance, Continuity;
his large bronze Double Standing Figure stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.
 Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former London County Council on the understanding that it would be displayed
in a public space and might enrich the lives of those living in a socially deprived area.
Moore’s first large-scale commission after the Second World War.Shahbanu Farah in Henry Moore’s Gallery, Tehran, May 1971.
 Moore’s earliest recorded carvings – a plaque for the Scott Society at Castleford Secondary School, and a Roll of Honour commemorating the boys who went to fight in the
First World War from the school – were executed around this time.
 The UNESCO piece being moved, in 1963, to allow for building work In the 1950s, Moore began to receive increasingly significant commissions.
In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.
 Collections England The world’s largest collection of Moore’s work is open to the public and is housed in the house and grounds of the 70-acre estate that was Moore’s
home for 40 years in Perry Green in Hertfordshire.
As with much of the post-War work, there are several bronze casts of this sculpture.
In 1928, despite his own self-described “extreme reservations”, he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in
London, joining the company of Jacob Epstein and Eric Gill.
Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios,
the house changed little over the years.
1, (1955), Bouwcentrum, Rotterdam After the Second World War, Moore’s bronzes took on their larger scale, which was particularly suited for public art commissions.
 From this time, Clark became an unlikely but influential champion of Moore’s work, and through his position as member of the Arts Council of Great Britain he secured
exhibitions and commissions for the artist.
In 1943 he received a commission from St Matthew’s Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.
At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that
lasted for many years.
 Two men were jailed for a year in 2012 for stealing a sculpture called Sundial (1965) and the bronze plinth of another work, also from the foundation’s estate.
 This was to become Moore’s home and workshop for the rest of his life.
 With many more public works of art, the scale of Moore’s sculptures grew significantly and he started to employ an increasing number of assistants to work with him at
Much Hadham, including Anthony Caro Roland Piché and Richard Wentworth.
Both the loss of his mother and the arrival of a baby focused Moore’s mind on the family, which he expressed in his work by producing many “mother-and-child” compositions,
although reclining and internal/external figures also remained popular.
The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years.
 He turned down a knighthood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that “such a title might tend to
cut me off from fellow artists whose work has aims similar to mine”.
The number of commissions continued to increase; he completed Knife Edge Two Piece in 1962 for College Green near the Houses of Parliament in London.
 Popular interest Today, the Henry Moore Foundation manages the artist’s former home at Perry Green in Hertfordshire as a visitor destination, with 70 acres (28
ha) of sculpture grounds as well as his restored house and studios.
 Art market By the end of his career, Moore was the world’s most successful living artist at auction.
 Large Reclining Figure (1984, based on a smaller model of 1938), Fitzwilliam Museum, Cambridge The aftermath of the Second World War, The Holocaust, and the age of the
atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins.
 In 1932, after six-year’s teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art.
Moore also produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.
After the war, Moore received an ex-serviceman’s grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds Arts University), which
set up a sculpture studio especially for him.
In 1975, he became the first President of the Turner Society, which had been founded to campaign for a separate museum in which the whole Turner Bequest might be reunited,
an aim defeated by the National Gallery and Tate Gallery.
During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli’s The Virgin and
Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a “pointing machine”, a technique called “pointing”.
Moore’s Three Way Piece No.
 On his second attempt he was accepted at Castleford Secondary School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest
in medieval sculpture.
Popular interest in Moore’s work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at Kew Gardens
in 2007, Tate Britain in 2010, and Hatfield House in 2011.
 Moore’s early work is focused on direct carving, in which the form of the sculpture evolves as the artist repeatedly whittles away at the block.
“ In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the
space exploration program.
Moore’s earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally
through them as he pierced the forms with openings.
Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the
The Foundation was established by Henry and his family in 1977 in England, and still working.
 Moore produced at least three significant examples of architectural sculpture during his career.
His first public commission, West Wind (1928–29), was one of the eight reliefs of the ‘four winds’ high on the walls of London Underground’s headquarters at 55 Broadway.
It comprises the world’s largest public collection of Moore’s work, most of it donated by him between 1971 and 1974.
 Gallery • Draped Seated Woman (1957–58), Hebrew University of Jerusalem • Three Piece Reclining Figure No.1 (1961), Yorkshire Sculpture Park • Knife Edge Two Piece (1962–65)
(bronze), (1962), opposite House of Lords, London • Knife Edge Two Piece (1962–65), Queen Elizabeth Park, Vancouver, B.C., Canada.
 Moore’s drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC Britain at War exhibition which toured
North America throughout the war.
I liked the place so much that I didn’t bother to go and see an alternative site in Hyde Park—one lonely sculpture can be lost in a large park.
 Kenneth Clark, the chairman of the War Artists’ Advisory Committee (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to
purchase some of the shelter drawings and issued contracts for further examples.
Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning
of what he has just seen.
The County Council, however, could not afford Gropius’s full design, and scaled back the project when Gropius emigrated to America.
5 (1963–64), bronze, Kenwood House grounds, London • Oval with Points (1968–70), Henry Moore Foundation • Sheep Piece (1971–72), Zürichhorn, Zürich-Seefeld, Switzerland •
Large Two Forms (1969), Art Gallery of Ontario • Double Oval (1966), Jardine House, Central, Hong Kong • Sculpture with Hole and Light (1967), Kröller-Müller Museum, Otterlo • Three Piece Sculpture: Vertebrae (1968–69), Henry Moore, Kunsthalle
Würth, 74523 Schwäbish Hall 2005 • The Arch (1963/69), Henry Moore – Kunst in Schwäbisch Hall • Large Interior Form (1953–54), Henry Moore – Kunst in Schwäbisch Hall • Reclining Figure (1982), Henry Moore – Kunst in Schwäbisch Hall • Two Piece
Reclining Figure No.
A Miner Pushing a Tub (1942) (Art.IWM ART LD 2240) At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching
In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the university Vice-Chancellor, which had a pronounced effect on his development.
Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the
 The Art Gallery of Ontario’s Henry Moore collection is the largest public collection of his works in the world .
Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob
Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture.
He is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art.
 On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled,
self-sustaining nuclear chain reaction, Moore’s Nuclear Energy was unveiled on the site of what was once the university’s football field stands, in the rackets court beneath which the experiments had taken place.
He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo’s achievements at a Sunday School reading.
 Yet Moore had a direct influence on several generations of sculptors of both British and international reputation.
The letter said that the sale “goes against the spirit of Henry Moore’s original sale” of the work.
In the 1930s, Moore’s transition into modernism paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead.
 His art teacher, Alice Gostick, broadened his knowledge of art, and with her encouragement, he determined to make art his career; first by sitting for examinations for
a scholarship to the local art college.
 Second World War Women and Children in the Tube (1940) (Art.IWM ART LD 759)At the Coal Face.
He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.
 When Moore’s niece asked why his sculptures had such simple titles, he replied, All art should have a certain mystery and should make demands on the spectator.
 In October 2013 Standing Figure (1950), one of four Moore pieces in Glenkiln Sculpture Park, estimated to be worth £3 million, was stolen.
These maquettes often began as small forms shaped by Moore’s hands—a process that gives his work an organic feeling.
In 2012, his eight-foot bronze, Reclining Figure: Festival (1951) sold for a record £19.1 million at Christie’s, making him the second most expensive 20th-century British
artist after Francis Bacon.
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Photo credit: https://www.flickr.com/photos/seven_of9/4325834819/’]