View source for Henry Moore

{{short description|English artist known for sculpture (1898–1986)}}
{{Other people}}
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{{Use dmy dates|date=December 2023}}
{{Use British English|date=December 2012}}
{{Infobox artist
| name             = Henry Moore
| honorific_suffix = [[Order of Merit|OM]] [[Member of the Order of the Companions of Honour|CH]] [[Fellow of the British Academy|FBA]]
| image            = Henry Moore in workshop Allan Warren (cropped).jpg
| caption          = Moore in 1975
| birth_name       = Henry Spencer Moore
| birth_date       = {{birth date|1898|7|30|df=y}}
| birth_place      = [[Castleford]], [[West Riding of Yorkshire]], England
| death_date       = {{Death date and age|1986|8|31|1898|7|30|df=y}}
| death_place      = [[Much Hadham]], [[Hertfordshire]], England<!-- dead link as of 2012-04-23 <ref>[http://www.findmypast.com/BirthsMarriagesDeaths.jsp Deaths England and Wales 1984–2006]</ref>-->
| field            = Sculpture, drawing, [[graphics]], textiles
| training         = [[Leeds Arts University|Leeds School of Art]]<br />[[Royal College of Art]]
| movement         = Bronze Sculpture, [[Modernism]]
| works            = [[List of sculptures by Henry Moore|List of sculptures]]
| patrons          =
| spouse           = {{marriage|Irina Radetsky|1929}}
| children         = 1
}}
'''Henry Spencer Moore''' {{post-nominals|country=GBR|size=100%|OM|CH|FBA}} (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-[[abstract art|abstract]] monumental [[Bronze sculpture|bronze sculptures]] which are located around the world as public works of art. Moore also produced many drawings, including a series depicting Londoners sheltering from [[the Blitz]] during the [[World War II|Second World War]], along with other graphic works on paper.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his [[Yorkshire]] birthplace.

Moore became well known through his carved [[Marble sculpture|marble]] and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of [[modernism]] to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the [[Henry Moore Foundation]], which continues to support education and promotion of the arts.

==Life==
=== Early life ===
Moore was born in [[Castleford]], [[West Riding of Yorkshire]], England, to Mary (née Baker) and Raymond Spencer Moore. His father was of Irish descent and became pit deputy (responsible for safety) and then under-manager of the Wheldale [[Coal mining|colliery]] in Castleford. He was an [[Autodidacticism|autodidact]] with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement.{{sfn|Grohmann|1960|p=16}} Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and junior schools in Castleford, where he began [[Modelling clay|modelling in clay]] and [[Wood carving|carving in wood]]. He professed to have decided to become a sculptor when he was eleven after hearing of [[Michelangelo]]'s achievements at a Sunday School reading.<ref name=HMF-website-bio-childhood>{{cite web|url=https://www.henry-moore.org/about-henry-moore/biography/childhood-and-education|title=1898–1925: Childhood and Education|publisher=Henry Moore Foundation|access-date=24 January 2017|archive-date=2 February 2017|archive-url=https://web.archive.org/web/20170202032935/https://www.henry-moore.org/about-henry-moore/biography/childhood-and-education|url-status=dead}}</ref>

On his second attempt he was accepted at [[Castleford Academy|Castleford Secondary School]], which several of his siblings had attended, where his headmaster soon noticed his talent and interest in [[Gothic art|medieval sculpture]].{{sfn|Grohmann|1960|p=15}} 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.{{sfn|Berthoud|2003|p=19}} 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.{{sfn|Berthoud|2003|pp=16–19}}

Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended.{{sfn|Berthoud|2003|p=19}} Upon turning eighteen, Moore volunteered for army service in the [[World War I|First World War]]. He was the youngest man in the [[Prince of Wales' Own Civil Service Rifles]] regiment and was injured in 1917 in a [[Chemical warfare|gas attack]], on 30 November at [[Bourlon]] Wood,<ref>[http://www.oxforddnb.com/view/printable/39962 Oxford Dictionary of National Biography]</ref> during the [[Battle of Cambrai (1917)|Battle of Cambrai]].{{sfn|Beckett|Russell|2003|p=}} After recovering in hospital, he saw out the remainder of the war as a [[physical fitness|physical training]] instructor, only returning to France as [[Armistice of 11 November 1918|the Armistice]] was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."{{sfn|Wilkinson|2002|p=41}} This attitude changed as he reflected on the destructiveness of war and in 1940 he wrote, in a letter to his friend Arthur Sale, that "a year or two after [the war] the sight of a khaki uniform began to mean everything in life that was wrong and wasteful and ''anti-life''. And I still have that feeling."<ref>{{cite web|url=http://www.iwm.org.uk/collections/item/object/19445|access-date=5 May 2017|title=Letter to Arthur Sale, 30 April 1940|publisher=Imperial War Museum}}</ref>

=== Beginnings as a sculptor ===
{{multiple image
|align left|direction=vertical
|image1=Chac Mool1.jpg|alt1=black and white photograph of a stone carving of a human figure lying down with its knees bent and head turned
|image2=Moore Reclining Woman Ottawa 2015.JPG|alt2=female figure carved out of green stone, lying with bent knees and turned head
|footer=Moore's reclining figures, such as the 1930 ''Reclining Woman'' (bottom), were influenced by [[Chac Mool]] figures, such as this one (top) from [[Chichen Itza]].}}

After the war, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now [[Leeds Arts University]]), which set up a sculpture studio especially for him. At the college, he met [[Barbara Hepworth]], a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir [[Michael Ernest Sadler|Michael Sadler]], the university [[Vice-Chancellor]], which had a pronounced effect on his development.<ref>{{cite web|url=http://www.moma.org/collection/details.php?artist_id=4071&section_id=T059426 |archive-url=https://web.archive.org/web/20090202025214/http://www.moma.org/collection/details.php?artist_id=4071&section_id=T059426 |url-status=dead |title=Henry Moore: Life and Work |publisher=Museum of Modern Art |archive-date=2 February 2009 |access-date=28 February 2017 }}</ref> In 1921, Moore won a scholarship to study at the [[Royal College of Art]] in London, along with Hepworth and other Yorkshire contemporaries.<ref>Barassi, Sebastiano. "A Master in the Making". ''Becoming Henry Moore'' 2017. pp. 21; 31–32.</ref> While in London, Moore extended his knowledge of [[primitivism|primitive art]] and sculpture, studying the [[ethnographic]] collections at the [[British Museum]].<ref>Moore, Tania. "The Nation's Collections". ''Becoming Henry Moore'' 2017. pp. 83–86.</ref>

The student sculptures of both Moore and Hepworth followed the standard romantic [[Victorian decorative arts|Victorian]] style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as [[Constantin Brâncuși]], [[Jacob Epstein]], [[Henri Gaudier-Brzeska]] and [[Frank Dobson (sculptor)|Frank Dobson]] led him to the method of [[Glossary of sculpting|direct carving]], in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by [[Francis Derwent Wood|Derwent Wood]] (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble [[relief]] of [[Domenico Rosselli]]'s ''The Virgin and Child''<ref>{{cite book|last1=Allemand-Cosneau|first1=Claude|last2=Fath|first2=Manfred|last3=Mitchinson|first3=David|title=Henry Moore|location=Nantes|publisher=Musée des Beaux Arts|year=1996|page=63|isbn=3-7913-1662-1}}</ref> by first modelling the relief in [[plaster]], then reproducing it in marble using the mechanical aid known as a "[[pointing machine]]", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.{{sfn|Berthoud|2003|pp=61–62}}

In 1924, Moore won a six-month travelling scholarship which he spent in [[Northern Italy]] studying the great works of [[Michelangelo]], [[Giotto di Bondone]], [[Giovanni Pisano]] and several other [[Old Masters]]. During this period he also visited Paris, took advantage of the timed-sketching classes at the [[Académie Colarossi]], and viewed, in the [[Trocadéro, Paris#The old Palais du Trocadéro|Trocadero]], a plaster cast of a [[Toltec]]-[[Maya civilisation|Maya]] sculptural form, the [[Chac Mool]], which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.<ref>{{cite web|url=http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |archive-url=https://web.archive.org/web/20090201004845/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 |title=Henry Moore: Biography 1916–1925 |publisher=Henry Moore Foundation |access-date=24 September 2008 |archive-date=1 February 2009 |url-status=dead }}</ref>

=== Hampstead ===
On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, ''West Wind'' (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of [[London Underground]]'s headquarters at [[55 Broadway, London|55 Broadway]].<ref>{{cite book|last=Cork|first=Richard|title=Art Beyond the Gallery in Early 20th Century England: In Early 20th Century England|publisher=Yale University Press|year=1985|page=249|isbn=0-300-03236-6}}</ref> The other 'winds' were carved by contemporary sculptors including [[Eric Gill]] with the ground-level pieces provided by [[Jacob Epstein|Epstein]]. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.{{sfn|Berthoud|2003|p=88}} On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College.<ref>{{cite book | url=https://books.google.com/books?id=pzqg4l-ce7oC&pg=PA55 |title = Henry Moore-- Writings and Conversations|isbn = 978-0-520-23161-0|last1 = Moore|first1 = Henry|year = 2002| publisher=University of California Press }}</ref> Irina was born in [[Kyiv]] in 1907. Her father was killed in the [[Russian Revolution of 1917|Russian Revolution]] and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in [[Buckinghamshire]].{{sfn|Berthoud|2003|pp=98–101}}

[[File:HenryMoore WestWind.jpg|thumb|''West Wind'', 1928–29; Moore's first public commission was carved from [[Portland stone]] and shows the influence of [[Michelangelo]]'s figures for the [[Medici Chapel (Michelangelo)|Medici Chapel]] and the [[Chac Mool]] figure.]]

Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in [[Hampstead]] at 11a Parkhill Road NW3, joining a small colony of [[avant-garde]] artists who were taking root there. Shortly afterward, Hepworth and her second husband [[Ben Nicholson]] moved into a studio around the corner from Moore, while [[Naum Gabo]], [[Roland Penrose]], [[Cecil Stephenson]] and the art critic [[Herbert Read]] also lived in the area (Read referred to the area as "a nest of gentle artists").<ref>{{cite web|publisher=Modernism 101 |archive-url=https://web.archive.org/web/20081210091401/http://www.modernism101.com/read_henry_moore.php |url=http://www.modernism101.com/read_henry_moore.php |access-date=22 September 2008 |archive-date=10 December 2008 |title=Henry Moore: Sculptor |url-status=dead }}</ref> The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.{{sfn|Berthoud|2003|pp=123–124}}

In 1932, after six years teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the [[Chelsea School of Art]].{{sfn|Grohmann|1960|p=30}} Artistically, Moore, Hepworth and other members of The [[Seven and Five Society]] would develop steadily more abstract work,<ref>{{cite web|url=http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|title=The Seven and Five Society|publisher=Tate|access-date=4 September 2008|url-status=dead|archive-url=https://web.archive.org/web/20140726193402/http://www.tate.org.uk/learn/online-resources/glossary/s/the-seven-and-five-society|archive-date=26 July 2014}}</ref> partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably [[Pablo Picasso]], [[Georges Braque]], [[Jean Arp]] and [[Alberto Giacometti]]. Moore flirted with [[Surrealism]], joining [[Paul Nash (artist)|Paul Nash]]'s [[modern art]] movement "[[Unit One]]", in 1933. In 1934, Moore visited Spain; he visited the [[cave of Altamira]] (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.<ref>{{cite news|last=Rojas |first=Laurie |archive-url=https://web.archive.org/web/20131103014202/http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |url=http://www.theartnewspaper.com/articles/Henry-Moore-revisits-Spain/30813 |newspaper=The Art Newspaper |date=30 October 2013 |archive-date=3 November 2013 |title=Henry Moore Revisits Spain |url-status=dead}}</ref>

In 1936, Moore joined a group of surrealist artists founded by [[Roland Penrose]], and the same year was honorary treasurer to the organising committee of the [[London International Surrealist Exhibition]].{{sfn|Berthoud|2003|p=161}} In 1937, [[Roland Penrose]] purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary [[maquette]]s in clay or plaster rather than making preparatory drawings.{{citation needed|date=July 2019}}

In 1938, Moore met [[Kenneth Clark]] for the first time.{{sfn|Berthoud|2003|p=172}} From this time, Clark became an unlikely but influential champion of Moore's work,{{sfn|Beckett|Russell|2003|p=6}} and through his position as member of the [[Arts Council of Great Britain]] he secured exhibitions and commissions for the artist.<ref>{{cite news|last=Luke|first=Ben|date=20 May 2014|title=Civilisation: the passions and prejudices of Kenneth Clark|work=Evening Standard|url=https://www.standard.co.uk/go/london/exhibitions/civilisation-the-passions-and-prejudices-of-kenneth-clark-9401507.html|access-date=12 June 2020}}</ref>

=== Second World War ===
[[File:Women and Children in the Tube (1940) (Art.IWM ART LD 759).jpg|thumb|''Women and Children in the Tube'' (1940) (Art.IWM ART LD 759)]]
[[File:At the Coal Face. A Miner Pushing a Tub (1942) (Art.IWM ART LD 2240).jpg|thumb|''At the Coal Face. A Miner Pushing a Tub'' (1942) (Art.IWM ART LD 2240)]]
At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post. During the war, Moore produced powerful drawings of Londoners sleeping in the London Underground while sheltering from [[the Blitz]].<ref>{{cite web|publisher=Tate |title=Insight at end of the Tunnel |archive-url=https://web.archive.org/web/20090409124847/http://www.tate.org.uk/magazine/issue2/moore.htm |url=http://www.tate.org.uk/magazine/issue2/moore.htm |access-date=16 August 2008 |archive-date=9 April 2009 |url-status=dead}}</ref> [[Kenneth Clark]], the chairman of the [[War Artists' Advisory Committee]] (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme.<ref name="Foss">{{cite book|first=Brian|last=Foss|publisher=Yale University Press|year=2007|title=War paint: Art, War, State and Identity in Britain, 1939–1945 |isbn=978-0-300-10890-3}}</ref> In August 1941, WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Moore drew the people in the shelters as passively waiting the all-clear while miners aggressively worked the coal-faces.<ref name="WW2Art">{{cite book|publisher=Imperial War Museum|year=2007|title=Art from the Second World War|isbn=978-1-904897-66-8}}</ref> It has been suggested that Moore's wartime drawings of the Underground and coalmines were inspired, in part, by Gustave Doré's illustrations for Dante's 'Divine Comedy'.<ref>{{cite journal|last=Jelbert|first=Rebecca|date=2021|title=Henry Moore's Wartime Drawings (1939–1942) and the Influence of Gustave Doré's Illustrations for Dante's 'Divine Comedy'|url=https://muse.jhu.edu/article/872084|journal=Dante Studies|doi=10.1353/das.2021.0005|volume=139|pages=154–187|s2cid=254221459 |url-access=subscription}}</ref> Moore's drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC ''Britain at War'' exhibition which toured North America throughout the war.<ref name="Foss"/>

After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of [[Perry Green, Hertfordshire|Perry Green]] near [[Much Hadham]], [[Hertfordshire]].{{sfn|Berthoud|2003|pp=192–193}} This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from [[St Matthew's Church, Northampton]], to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.<ref name="Henry Moore">{{cite web|url=https://www.guggenheim.org/artwork/artist/henry-moore |title=Henry Moore |publisher=Guggenheim Collection |access-date=28 February 2017}}</ref>

=== Later years ===
[[File:Henry Moore, Family Group (1950).jpg|thumb|left|''[[Family Group (Moore)|Family Group]]'' (1950) bronze, [[The Barclay School|Barclay School]], [[Stevenage]], [[Hertfordshire, England|Hertfordshire]]. Moore's first large-scale commission after the Second World War.]]
[[File:Shahbanu Farah, Opening ceremony of Henry Moore Gallery in Tehran.png|thumb|[[Farah Pahlavi|Shahbanu Farah]] in Henry Moore's Gallery, Tehran, May 1971.]]
After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946.<ref>"Henry Moore: The Human Dimension". HMF Enterprises, 1991. 83. {{ISBN|0-85331-610-4}}</ref> The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the [[Museum of Modern Art]] in New York City.{{sfn|Beckett|Russell|2003|p=96}}

Before the war, Moore had been approached by educator [[Henry Morris (education)|Henry Morris]], who was trying to reform education with his concept of the [[Village College]]. Morris had engaged [[Walter Gropius]] as the architect for his second village college at [[Impington Village College|Impington]] near [[Cambridge]], and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.{{sfn|Berthoud|2003|pp=221–222}} Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of [[Stevenage]]. This time, the project was completed and ''[[Family Group (Moore)|Family Group]]'' became Moore's first large-scale public bronze.{{sfn|Berthoud|2003|p=261}}

[[File:UNESCO History, Moving Henry Moore sculpture - UNESCO - PHOTO0000002731 0001.tiff|thumb|The UNESCO piece being moved, in 1963, to allow for building work]]

In the 1950s, Moore began to receive increasingly significant commissions. He exhibited [[Reclining Figure: Festival]] at the [[Festival of Britain]] in 1951,{{sfn|Wilkinson|2002|p=275}} and in 1958 produced a [[UNESCO Reclining Figure 1957-58|large marble reclining figure]] for the [[UNESCO]] building in Paris.<ref>{{Cite web |title=Moore, Henry (1898-1986) - RECLINING FIGURE |url=https://www.unesco.org/artcollection/NavigationAction.do?idOeuvre=3066 |access-date=12 December 2023 |website=www.unesco.org}}</ref> With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including [[Anthony Caro]]<ref name="Ina Cole">{{cite book |editor1-last=Cole |editor-first1=Ina |title=“From the Sculptor’s Studio”, conversation with Anthony Caro, held in 2006 |year=2021 |publisher=Laurence King Publishing Ltd |pages=34-47 |isbn=9781913947590 |oclc=1420954826}}</ref><ref>[http://www.tate.org.uk/britain/exhibitions/caro/chronology.htm Anthony Caro]. Tate exhibition catalogue, 2005. Retrieved on 20 September 2008.</ref> [[Roland Piché]]<ref>{{cite web |title=Piche, Roland, b.1938 {{!}} Art UK |url=https://artuk.org/discover/artists/piche-roland-b-1938 |access-date=16 February 2023 |website=artuk.org }}</ref> and [[Richard Wentworth (artist)|Richard Wentworth]].<ref>[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2132&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio, Wentworth]. tate.org.uk. Retrieved on 20 September 2008.</ref>

On the campus of the [[University of Chicago]] in December 1967, 25 years to the minute<ref>3:36&nbsp;p.m., 2 December 1967. In: McNally, Rand. "Illinois; Guide & Gazetteer". Illinois Sesquicentennial Commission. University of Virginia, 1969. 199.</ref> after the team of physicists led by [[Enrico Fermi]] achieved the first controlled, self-sustaining nuclear chain reaction, Moore's ''[[Nuclear Energy (sculpture)|Nuclear Energy]]'' was unveiled on the site of what was once the university's football field stands, in the [[rackets (sport)|rackets court]] beneath which the experiments had taken place.{{sfn|Beckett|Russell|2003|p=221}} This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a [[mushroom cloud]] topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."<ref>Sachs, Robert G. "[http://physics.uchicago.edu/moore_sculpture.html Henry Moore, sculptor]". In "The Nuclear Chain Reaction-Forty Years Later". [[University of Chicago]]. Retrieved on 11 November 2007. {{webarchive |url=https://web.archive.org/web/20071113135127/http://physics.uchicago.edu/moore_sculpture.html|date=13 November 2007}}</ref> In [[Chicago, Illinois]], Moore also commemorated science with a large bronze sundial, locally named ''[[Man Enters the Cosmos]]'' (1980), which was commissioned to recognise the [[space exploration]] program.<ref>[[:File:20070701 Man Enters The Cosmos Explanatory Plaques.JPG|Enscripted on the plaque at the base of the sculpture]].</ref>

[[File:Henry Moore Allan Warren.jpg|thumb|Moore in his studio in England (1975), by [[Allan Warren]]]]<!--[[File:Huk, Oslo&nbsp;— sculpture.jpg|thumb|left|''Large Arch,'' 1963-1969, sandcast in [[bronze]], [[Oslo, Norway]]]]-->

The last three decades of Moore's life continued in a similar vein; several major retrospectives took place around the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the [[Belvedere (fort)|Forte di Belvedere]] overlooking [[Florence]]. Following the pioneering documentary 'Henry Moore', produced by [[John Read (art film maker)|John Read]] in 1951, he appeared in many films. In 1964, for instance, Moore was featured in the documentary "5 British Sculptors (Work and Talk)" by American filmmaker [[Warren Forma]]. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. The number of commissions continued to increase; he completed ''[[Knife Edge Two Piece 1962–65|Knife Edge Two Piece]]'' in 1962 for [[College Green, London|College Green]] near the [[Palace of Westminster|Houses of Parliament]] in London. According to Moore, "When I was offered the site near the [[House of Lords]]&nbsp;... I liked the place so much that I didn't bother to go and see an alternative site in [[Hyde Park, London|Hyde Park]]—one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it."<ref>Chamot, Mary; Farr, Dennis; [[Martin Butlin|Butlin, Martin]]. "[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131163721/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=3689 |date=31 January 2009 }}". "The Modern British Paintings, drawings and Sculpture", Volume II. London: Oldbourne Press, 1964. 481. Retrieved on 5 September 2008.</ref>

As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from [[Inheritance Tax (United Kingdom)|death duties]]. By 1977, he was paying close to a million pounds a year in [[income tax]]; to mitigate his tax burden, he established the [[Henry Moore Foundation]] as a registered charity with Irina and Mary as trustees. The Foundation was established to encourage the public appreciation of the visual arts and especially the works of Moore. It now runs his house and estate at [[Perry Green, Hertfordshire|Perry Green]], with a gallery, sculpture park and studios.<ref>{{cite news |author=Kennedy |first=Maev |date=22 April 1999 |title=A hush falls over Henry Moore country |website=The Guardian |url=http://www.theguardian.com/theguardian/1999/apr/22/features11.g23 |access-date=7 January 2023}}</ref>

In 1979, Henry Moore became unexpectedly known in Germany when his sculpture ''[[Large Two Forms]]'' was installed in the forecourt of the [[Federal Chancellery (Bonn)|German Chancellery]] in Bonn, which was the capital city of [[West Germany]] prior to German reunification in October 1990.<ref>{{cite web|url=http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=2498|title=GHDI – Image|work=ghi-dc.org}}</ref>

Moore died on 31 August 1986 at his home in Perry Green. His body was interred at the churchyard of St Thomas's Church.<ref>{{cite book |last=Davis |first=Alexander |url=https://books.google.com/books?id=WVnrAAAAMAAJ |title=Henry Moore Bibliography: 1986–1991, together with supplementary 1898–1986 publications |publisher=Henry Moore Foundation |year=1992 |isbn=978-0-906909-09-6 |volume=4 |pages=140}}</ref>

[[File:Henry-moore-ago.jpg|upright=3.2|center|thumb|The [[Art Gallery of Ontario]]'s Henry Moore collection is the largest public collection of his works in the world]]

== Style ==
[[File:Stuttgart-henry-moore-liegende.jpg|thumb|left|Moore's bronze ''[[Draped Reclining Woman 1957–58]]'' ("Die Liegende") in [[Stuttgart]], typical of his early reclining figures]]
Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.{{citation needed|date=July 2019}}

Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with [[Barbara Hepworth]]'s sculptures.<ref>{{Cite web |title=The Hole of Life |url=https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-url=https://web.archive.org/web/20110706045046/https://www.tate.org.uk/magazine/issue5/hepworth.htm |archive-date=6 July 2011 |access-date=12 December 2023 |website=Tate Magazine}}</ref> Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows.{{citation needed|date=November 2022}} The plaster ''[[Reclining Figure: Festival]]'' (1951) in the [[Tate]], is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture.{{citation needed|date=November 2022}} When Moore's niece asked why his sculptures had such simple titles, he replied, <blockquote>All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.<ref>{{Cite news |last=Day |first=Elizabeth |date=2008-07-26 |title=The Moore legacy |work=The Observer |url=https://www.theguardian.com/artanddesign/2008/jul/27/1 |access-date=2023-12-12 |issn=0029-7712}}</ref></blockquote>

Moore's early work is focused on [[Glossary of sculpting#direct carving|direct carving]], in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into [[modernism]] paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory [[Sketch (drawing)|sketches]] and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.<ref>{{Cite news |last=Sabbath |first=Lawrence |date=5 October 1985 |title=Show chance to view '20th-century Michelangelo' |pages=11 |work=[[The Gazette (Montreal)|The Gazette]] |url=https://news.google.com/newspapers?nid=1946&dat=19851005&id=fxUyAAAAIBAJ&sjid=4qUFAAAAIBAJ&pg=1222,2443455 |archive-url=}}</ref>

[[File:Rotterdam kunstwerk Wall Relief no.1.jpg|thumb|upright=1.35|''Wall Relief No. 1'', (1955), Bouwcentrum, [[Rotterdam]]]]
After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the [[Lost-wax casting|lost wax]] technique. These maquettes often began as small forms shaped by Moore's hands—a process that gives his work an organic feeling. They are from the body.
At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final [[Molding (process)|moulding]] and [[casting]] at a bronze [[foundry]]. Moore often refined the final full plaster shape and added surface marks before casting.{{citation needed|date=July 2019}}

Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for ''West Wind'' for the [[London Underground]] Building at [[55 Broadway]] in London, joining the company of [[Jacob Epstein]] and [[Eric Gill]].{{sfn|Berthoud|2003|pp=92–93}} In 1953, he completed a four-part screen carved in [[Portland stone]] for the Time-Life Building in New Bond Street, London,{{sfn|Berthoud|2003|pp=280–282}} and in 1955 Moore turned to his first and only work in carved brick, ''Wall Relief'' at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.<ref>''Sculpture in Rotterdam''. van Adrichem, Jan; Bouwhuis, Jelle; Dölle, Mariette. 2002. Rotterdam: Centre for the Arts. p. 180.</ref>

[[File:HenryMoore RecliningFigure 1951.jpg|thumb|''[[Large Reclining Figure]]'' (1984, based on a smaller model of 1938), [[Fitzwilliam Museum, Cambridge]]]]

The aftermath of the [[Second World War]], [[The Holocaust]], and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as [[Jean-Paul Sartre]] advocated a similar reductive philosophy.{{sfn|Causey|1998|p=34}} At an introductory speech in New York City for an exhibition of one of the finest [[Modernism|modernist]] sculptors, [[Alberto Giacometti]], Sartre spoke of "The beginning and the end of history".<ref>Morris, Frances. "Paris Post War: Art and Existentialism 1945–55". Tate Gallery, 1993. {{ISBN|1-85437-124-X}}</ref> Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.{{sfn|Causey|1998|p=34}}

== Legacy ==
[[File:Caro DreamCity 1996.jpg|thumb|left|alt=Abstract sculpture made of rusting steel|''Dream City'' by Anthony Caro, (1996), rusting steel, at the [[Yorkshire Sculpture Park]].]]

Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 [[Venice Biennale]], eight new British sculptors produced their ''[[Geometry of Fear]]'' works as a direct contrast to the ideals behind Moore's idea of ''Endurance, Continuity'';{{sfn|Causey|1998|p=71}} his large bronze ''Double Standing Figure'' stood outside the British pavilion, and contrasted strongly with the rougher and more angular works inside.<ref name=arts>{{cite web|first=Ann |last=Jones |year=2007 |url= http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |title=Geometry of Fear: Works from the Arts Council Collection |archiveurl=https://web.archive.org/web/20150630034027/http://www.artscouncilcollection.org.uk/sites/default/files/Geometry_Of_Fear_leaflet.pdf |archivedate=30 June 2015 |type=exhibition leaflet |location=London |publisher=Southbank Centre |accessdate= 6 May 2017}}</ref>

Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are [[Sir Anthony Caro]],<ref name="Ina Cole"/><ref>{{cite web |title=Anthony Caro Biography |url=http://www.anthonycaro.org/frames-related/biography.htm |archive-url=https://web.archive.org/web/20160201090252/http://www.anthonycaro.org/frames-related/biography.htm |archive-date=1 February 2016 |access-date=12 December 2023 |website=anthonycaro.org}}</ref> [[Phillip King (artist)|Phillip King]]<ref>{{Cite web |date=31 May 2005 |title=Phillip King |url=http://www.sculpture.org.uk/artists/PhillipKing/ |archive-url=https://web.archive.org/web/20080531062158/http://www.sculpture.org.uk/artists/PhillipKing/ |archive-date=31 May 2008 |access-date=12 December 2023 |website=www.sculpture.org.uk}}</ref> and [[Isaac Witkin]],<ref>{{Cite news |last=Johnson |first=Ken |date=29 April 2006 |title=Isaac Witkin, 69, Innovator in Abstract Metal Sculpture, Is Dead |work=[[The New York Times]] |url=https://www.nytimes.com/2006/04/29/obituaries/isaac-witkin-69-innovator-in-abstract-metal-sculpture-is-dead.html |access-date=12 December 2023}}</ref> all three having been assistants to Moore. Other artists whose work was influenced by him include [[Helaine Blumenfeld]], [[Drago Marin Cherina]], [[Lynn Chadwick]], [[Eduardo Paolozzi]], [[Bernard Meadows]], [[Reg Butler]], [[William Turnbull (artist)|William Turnbull]], [[Robert Adams (sculptor and designer)|Robert Adams]], [[Kenneth Armitage]], and Geoffrey Clarke.<ref name=":1">{{Cite web |last=Turner |first=Chris |date=1 August 2003 |title=The Bronze Age |url=http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-url=https://web.archive.org/web/20160303212956/http://www.tate.org.uk/context-comment/articles/the-bronze-age-henry-moore |archive-date=3 March 2016 |access-date=12 December 2023}}</ref>

'''Henry Moore Foundation''' helps to preserve his legacy by supporting sculptors and creating exhibitions, its goal is to develop appreciation for visual arts. The Foundation was established by Henry and his family in 1977 in England, and still working.<ref>{{cite web|title=About the Foundation|url=https://www.henry-moore.org/about-the-foundation|access-date=29 November 2020|website=Henry Moore Foundation}}</ref>

=== Controversy ===
In December 2005, the two ton ''Reclining Figure'' (1969–70) – insured for £3&nbsp;million – was lifted by crane from the grounds of the Henry Moore Foundation on to a lorry and has not been recovered.<ref>{{Cite news |last=David |first=Wilcock |date=13 July 2012 |title=Henry Moore sundial stolen from former garden |work=[[The Independent]] |url=https://www.independent.co.uk/news/uk/crime/henry-moore-sundial-stolen-from-former-garden-7941456.html |access-date=12 December 2023}}</ref> Two men were jailed for a year in 2012 for stealing a sculpture called ''Sundial'' (1965) and the bronze plinth of another work, also from the foundation's estate.<ref>{{Cite news |date=14 October 2023 |title=Bronze Henry Moore work stolen from sculpture park |work=[[Evening Standard]] |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=12 December 2023}}</ref> In October 2013 ''Standing Figure'' (1950), one of four Moore pieces in [[Glenkiln Sculpture Park]], estimated to be worth £3&nbsp;million, was stolen.<ref name="standard.co.uk">{{cite web |date=14 October 2013 |title=Bronze Henry Moore work stolen from sculpture park |url=https://www.standard.co.uk/news/crime/bronze-henry-moore-work-stolen-from-sculpture-park-8877283.html |access-date=7 January 2023 |website=Evening Standard}}</ref><ref>{{cite news |url=https://www.bbc.co.uk/news/uk-scotland-south-scotland-24522871 |title=Missing Henry Moore bronze statue 'worth £3m' |work=BBC News |date=13 October 2013 |access-date=15 October 2013}}</ref>

[[File:Reclining Figure at Yorkshire Sculpture Park - geograph.org.uk - 519117.jpg|thumb|right|''[[Draped Seated Woman 1957–58]]'', [[Yorkshire Sculpture Park]]]]

In 2012, the council of the [[London Borough of Tower Hamlets]] announced its plans to sell another version of ''[[Draped Seated Woman 1957–58]]'', a 1.6-tonne bronze sculpture.<ref>{{cite web|last=Vogel|first=Carol|date=5 November 2012|title=British Art World Figures Protest Possible Sale of a Henry Moore|url=https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2012/11/05/british-art-world-figures-protest-possible-sale-of-a-henry-moore/|access-date=7 January 2023|website=ArtsBeat}}</ref> Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former [[London County Council]] on the understanding that it would be displayed in a public space and might enrich the lives of those living in a socially deprived area. Nicknamed ''Old Flo'', it was installed on the Stifford council estate in 1962 but was vandalised and moved to the [[Yorkshire Sculpture Park]] in 1997. Tower Hamlets Council later had considered moving ''[[Draped Seated Woman]]'' to private land in [[Canary Wharf]] but instead chose to "explore options" for a sale.<ref>{{cite news |last=Youngs |first=Ian |date=5 October 2012 |title=Council to sell Henry Moore sculpture |work=BBC News |url=https://www.bbc.com/news/entertainment-arts-19846843 |access-date=7 January 2023}}</ref> In response to the announcement an open letter was published in ''[[The Guardian]]'', signed by Mary Moore, the artist's daughter, by [[Sir Nicholas Serota]], Director of the [[Tate Gallery]], by filmmaker [[Danny Boyle]], and by artists including [[Jeremy Deller]]. The letter said that the sale "goes against the spirit of Henry Moore's original sale" of the work.<ref>{{Cite news |last=Alberge |first=Dalya |date=3 November 2012 |title=Britain's cultural elite battles to halt sale of Henry Moore sculpture |work=[[The Observer]] |url=https://www.theguardian.com/culture/2012/nov/03/henry-moore-sculpture |access-date=12 December 2023}}</ref>  The sale was delayed by a legal case, and a change in mayor resulted in it being retained, it is, {{As of |2024 | lc=y}}, on display in [[Cabot Square]] in London Docklands.

=== Popular interest ===
Today, the [[Henry Moore Foundation]] manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with {{convert|70|acre}} of sculpture grounds as well as his restored house and studios. It also runs the Henry Moore Institute in Leeds which organises exhibitions and research activities in international sculpture. Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at [[Kew Gardens]] in 2007, [[Tate Britain]] in 2010, and [[Hatfield House]] in 2011. The foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme.<ref>"[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 Unfinished Business: Mark Wilsher on view from 26 July] {{webarchive|url=https://web.archive.org/web/20081006163517/http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=33 |date=6 October 2008 }}". Henry Moore Foundation, 2008. Retrieved on 22 September 2008.</ref>

== Collections ==
[[File:HenryMooreTorontoCH1.jpg|''Three Way Piece No. 2 (The Archer),'' (1964–65) has been on display in front of [[Toronto City Hall]] in [[Nathan Phillips Square]] since 1966.|thumb|alt=Photograph of a large bronze abstract sculpture, in front of a glass and concrete building.]]

=== England ===
The world's largest collection of Moore's work is open to the public and is housed in the house and grounds of the 70-acre estate that was Moore's home for 40{{nbsp}}years in [[Perry Green, Hertfordshire|Perry Green]] in Hertfordshire. The site and the collection are now owned by the [[Henry Moore Foundation]].<ref>{{cite web|title=Visiting FAQs – Studios & Gardens|url=https://henry-moore.org/studios-and-gardens/plan-your-visit-studios-gardens/visiting-faqs-studios-gardens/|access-date=7 January 2023|website=Henry Moore Foundation}}</ref>

In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a cast of Moore's ''[[Reclining Figure 1969–70]]'' (LH 608) – a {{cvt|3.6|m}} long, 2.1-tonne bronze sculpture. Closed-circuit-television footage showed that they used a crane to lower the piece onto a stolen flatbed truck. A substantial reward was offered by the foundation for information leading to its recovery. By May 2009, after a thorough investigation, British officials said they believe the work, once valued at £3&nbsp;million was probably sold for [[scrap metal]], fetching about £5,000.<ref>{{cite news|last=Bowcott|first= Owen|url=https://www.theguardian.com/uk/2005/dec/19/arts.arttheft|title=Lorry used to steal £3m Moore sculpture found on housing estate|newspaper=[[The Guardian]]|date=19 December 2005|access-date=9 June 2009}}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/england/beds/bucks/herts/4537670.stm|title=£3m Henry Moore sculpture stolen|work=[[BBC News Online]]|date=17 December 2005|access-date=9 June 2009}}</ref> In July 2012 the {{convert|22|in|cm}} bronze ''Sundial 1965'', valued at £500,000, was stolen from the Moore Foundation.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2012/jul/13/henry-moore-sundial-stolen-foundation?newsfeed=true|title=Henry Moore sundial sculpture stolen from museum garden|work=The Guardian|date=13 July 2012 }}</ref> Later that year, following the details of the theft being publicised on the BBC [[Crimewatch]] television programme, the work was recovered, and the thieves were sentenced to twelve months' custody.<ref>{{cite news|url=https://www.bbc.co.uk/news/uk-england-beds-bucks-herts-20591757 |title=Henry Moore sundial theft pair jailed |work=[[BBC News Online]]|date=4 December 2012|access-date=3 May 2013}}</ref>

Moore presented 36 sculptures, as well as drawings, maquettes and other works to the [[Tate Gallery]] in 1978.<ref>{{Cite web |last= |title=Henry Moore at Tate |url=https://www.tate.org.uk/visit/tate-britain/display/henry-moore/henry-moore-tate |access-date=12 December 2023 |website=Tate }}</ref>

=== Canada ===
The Henry Moore Sculpture Centre in the [[Art Gallery of Ontario]], Toronto, opened in 1974. It comprises the world's largest public collection of Moore's work, most of it donated by him between 1971 and 1974. Moore's ''[[Three Way Piece No.2: Archer|Three Way Piece No. 2 (The Archer)]]'' has also been on display in [[Nathan Phillips Square]] at [[Toronto City Hall]] since 1966.<ref>{{cite web|url=http://www.toronto.ca/311/knowledgebase/59/101000040959.html|title=The Archer – sculpture – Nathan Phillips Square|work=toronto.ca|url-status=dead|archive-url=https://web.archive.org/web/20141012024555/http://www.toronto.ca/311/knowledgebase/59/101000040959.html|archive-date=12 October 2014}}</ref><ref>{{Cite web |date=2017-11-23 |title=A Step Forward in Time: Public Art |url=https://www.toronto.ca/explore-enjoy/history-art-culture/online-exhibits/web-exhibits/web-exhibits-local-government/a-step-forward-in-time-torontos-new-city-hall/a-step-forward-in-time-public-art/ |access-date=2024-04-02 |website=City of Toronto |language=en-CA}}</ref>

=== United States ===
Works by Moore are in the collections of institutions in 25 states and the District of Columbia.<ref>{{cite web |title=Henry Moore Works in Public |url=https://henry-moore.org/henry-moore-works-in-public/ |access-date=30 July 2023 |website=Henry Moore Foundation}}</ref>

There are eleven large sculptural bronze works by Moore in the grounds of the [[Nelson-Atkins Museum of Art]] in [[Kansas City, Missouri]].<ref name=":0">{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/henry-spencer-moore/objects |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref><ref>{{cite web |title=Donald J. Hall Sculpture Park |url=https://nelson-atkins.org/collection/donald-j-hall-sculpture-park/ |access-date=30 July 2023 |website=Nelson Atkins }}</ref> There is also a large bronze, the "Seated Woman" of 1957, inside the museum.<ref>{{cite web |title=Seated Woman |url=https://art.nelson-atkins.org/objects/21761/seated-woman;jsessionid=1B892C99F27DD589A49600490663BC7D |access-date=30 July 2023 |website=art.nelson-atkins.org }}</ref> This is the largest collection of Moore's monumental bronzes in the United States.<ref>{{cite web |title=Nelson-Atkins Museum of Art, Kansas City – Collections – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/collections/16952/nelsonatkins-museum-of-art-kansas-city |access-date=30 July 2023 |website=catalogue.henry-moore.org}}</ref> The museum also contains about 43 smaller sculptures by Moore which are usually not on display. The museum's holdings also include a few works on paper and four large woven pieces, titled "Seated Figures: Ideas for Terracotta" (1981–1982), which are 7–8 foot long tapestries by British weavers based on drawings by Moore.<ref>{{cite web |title=Works – Henry Spencer Moore – Artists/Makers – The Nelson-Atkins Museum of Art |url=https://art.nelson-atkins.org/people/2189/-/objects/images?page=3 |access-date=30 July 2023 |website=art.nelson-atkins.org}}</ref> Twenty-eight more tapestries were produced during Moore's lifetime.<ref>{{cite web |title=Search * (Objects) – Search – Henry Moore Artwork Catalogue |url=https://catalogue.henry-moore.org/search/*/objects/images?filter=classifications:Tapestry&page=2 |access-date=5 August 2023 |website=catalogue.henry-moore.org}}</ref>

== Recognition ==
[[File:Heroic Bust, Henry Moore by Alexander Stoddart 1992.jpg|thumb|upright|Heroic Bust, Henry Moore by [[Alexander Stoddart]] 1992]]
In 1948, Moore won the International Sculpture Prize at the [[Venice Biennale]].<ref>"[http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 Henry Moore] {{webarchive|url=https://web.archive.org/web/20090131232706/http://collection.britishcouncil.org/html/artist/artist.aspx?id=18427 |date=31 January 2009 }}". Visual Arts Department, British Council. Retrieved on 5 September 2008.</ref> He turned down a [[knight]]hood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".<ref name=":1" /> He was, however, appointed a [[Member of the Order of the Companions of Honour]] in 1955{{sfn|Berthoud|2003|p=301}} and  a [[Member of the Order of Merit]] in 1963,{{sfn|Berthoud|2003|p=302}} and received the [[Erasmus Prize]] in 1968.{{sfn|Berthoud|2003|p=397}} He was also a member of both the [[American Academy of Arts and Sciences]] and the [[American Philosophical Society]].<ref>{{cite web |title=Henry Spencer Moore |url=https://www.amacad.org/person/henry-spencer-moore |access-date=15 June 2022 |website=American Academy of Arts & Sciences }}</ref><ref>{{cite web |title=APS Member History |url=https://search.amphilsoc.org/memhist/search?creator=Henry+Moore&title=&subject=&subdiv=&mem=&year=&year-max=&dead=&keyword=&smode=advanced |access-date=15 June 2022 |website=search.amphilsoc.org}}</ref>

He was a trustee of both the [[National Gallery, London|National Gallery]] and [[Tate Gallery]].<ref>Chamot, Mary; Farr, Dennis; Butlin, Martin. "[http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1659&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio Henry Moore OM, CH ]". From ''The Modern British Paintings, Drawings and Sculpture, London 1964, II''. Reproduced at Tate.org. Retrieved on 21 August 2008.</ref> His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first president of the [[Turner Society]],<ref>{{cite web|date=2 December 2022|title=The Turner Society|url=https://www.turnersociety.com/|access-date=7 January 2023|website=www.turnersociety.com}}</ref> which had been founded to campaign for a separate museum in which the whole [[Turner Bequest]]<ref>"[http://www.tate.org.uk/servlet/BrowseGroup?cgroupid=999999998 Turner Collection]". [[Tate Gallery]]. Retrieved on 9 August 2008.</ref> might be reunited, an aim defeated by the National Gallery and Tate Gallery.{{citation needed|date=July 2019}}

Given to the City of London by Moore and the Contemporary Art Society in 1967, ''[[Knife Edge Two Piece 1962–65]]'' is displayed in [[College Green, London|Abingdon Street Gardens]], opposite the [[Palace of Westminster|Houses of Parliament]], where its regular appearance in the background of televised news reports from Westminster makes it Moore's most prominent piece in Britain. The ownership of ''Knife Edge Two Piece 1962–65'' was disputed until its 2011 acquisition by the Parliamentary Art Collection.<ref name=ParlNews>{{cite news |url= http://www.parliament.uk/business/news/2013/february/conservation-of-henry-moore-sculpture-to-begin/|title=Conservation of Henry Moore sculpture to begin |location =London |date=11 February 2013}}</ref>

== Art market ==
By the end of his career, Moore was the world's most successful living artist at auction. In 1982, four years before his death, [[Sotheby's]] in New York sold a {{convert|6|ft|adj=on}} ''Reclining Figure'' (1945), for $1.2&nbsp;million to collector Wendell Cherry. Although a first record of $4.1&nbsp;million was set in 1990, Moore's market slumped during the recession that followed. In 2012, his eight-foot bronze, ''[[Reclining Figure: Festival]]'' (1951) sold for a record £19.1&nbsp;million at [[Christie's]], making him the second most expensive 20th-century British artist after [[Francis Bacon (artist)|Francis Bacon]].<ref>{{Cite news |last=Gleadell |first=Colin |date=13 February 2012 |title=Modern sales review: when Moore means more |work=[[The Daily Telegraph|The Telegraph]] |url=https://www.telegraph.co.uk/culture/art/artsales/9080076/Modern-sales-review-when-Moore-means-more.html |access-date=12 December 2023}}</ref>
{{Clear}}

== Gallery ==
<gallery class="center" widths="176" heights="150">
File:MooreJerusalem1.jpg|''[[Draped Seated Woman 1957–58|Draped Seated Woman]]'' (1957–58), [[Hebrew University of Jerusalem]]
File:Moore ThreePieceRecliningFigureNo1 1961.jpg|''Three Piece Reclining Figure No.1'' (1961), [[Yorkshire Sculpture Park]]
File:Knife Edge Two Piece - Henry Moore.jpg|''[[Knife Edge Two Piece]]'' (1962–65) ([[bronze]]), (1962), opposite [[House of Lords]], [[London]]
File:Henry Moore's sculpture, Q. E. Park, Vancouver.jpg|''[[Knife Edge Two Piece]]'' (1962–65), Queen Elizabeth Park, [[Vancouver, B.C.]], Canada. 1970.
File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg|''Two Piece Reclining Figure No. 5'' (1963–64), bronze, [[Kenwood House]] grounds, [[London]]
File:Oval with Points.jpg|''[[Oval with Points]]'' (1968–70), [[Henry Moore Foundation]]
File:'Sheep Piece' von Henry Moore beim Hafen Riesbach in Zürich-Seefeld 2014-03-12 14-44-05.JPG|''[[Sheep Piece 1971–72|Sheep Piece]]'' (1971–72), [[Zürichhorn]], Zürich-[[Seefeld (Zürich)|Seefeld]], Switzerland
File:HenryMoor AGO.JPG|''[[Large Two Forms]]'' (1969), [[Art Gallery of Ontario]]
File:Moore Hongkong.JPG|''Double Oval'' (1966), [[Jardine House]], [[Central, Hong Kong]]
File:Henry Moore - Sculpture with hole and light.jpg|''Sculpture with Hole and Light'' (1967), [[Kröller-Müller Museum]], [[Otterlo]]
File:Three Picture Sculpture - Henry Moore.jpg|''Three Piece Sculpture: Vertebrae'' (1968–69), Henry Moore, Kunsthalle Würth, 74523 Schwäbish Hall 2005
File:The Arch - Henry Moore.jpg|''The Arch'' (1963/69), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 4 in Schwäbisch Hall.jpg|''Large Interior Form'' (1953–54), Henry Moore – Kunst in Schwäbisch Hall
File:Henry Moore - Kunst 3 in Schwäbisch Hall.jpg|''Reclining Figure'' (1982), Henry Moore – Kunst in Schwäbisch Hall
File:HenryMoore TwoPieceRecliningFigureNo3.jpg|''Two Piece Reclining Figure No. 3'', Henry Moore, Brandon Estate, Kennington, London
File:018 ceh 0125.jpg|''Reclining Figure (1982), [[Worcester College, Oxford]]''
</gallery>

== See also ==
*[[List of sculptures by Henry Moore]]

== References ==
{{reflist}}

== Works cited ==
* {{cite book|last1=Beckett|last2=Russell|first1=Jane|first2=Fiona|title=Henry Moore: Space, Sculpture, Politics|year=2003|publisher=Ashgate|location=Burlington, Vermont|isbn=0-7546-0836-0}}
* {{cite book|last=Berthoud|first=Roger|title=The Life of Henry Moore|url=https://books.google.com/books?id=5I2wAAAAIAAJ |year=2003|publisher=Giles de la Mare|edition=2|isbn=978-1-900357-22-7}}
* {{cite book|last=Causey|first=Andrew|title=Sculpture Since 1945|year=1998|publisher=Oxford University Press|location=Oxford|isbn=0-19-284205-6|url-access=registration|url=https://archive.org/details/sculpturesince190000caus}}
* {{cite book|last=Grohmann|first=Will|title=The Art of Henry Moore|publisher=H.&nbsp;N. Abrams|location=New York|year=1960}}
* {{cite book|last=Wilkinson|first=Alan&nbsp;G.|title=Henry Moore: Writings and Conversations|publisher=University of California Press|year=2002|isbn=0-520-23161-9}}

== Further reading ==
* {{cite book|last=Darracott|first=J.|title=Henry Moore War Drawings|year=1975}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore Textiles|publisher=Lund Humphries|location=Surrey|year=2009|isbn=978-1-84822-052-2}}
* {{cite book|last=Feldman|first=Anita|title=Henry Moore: Large Late Forms|publisher=Gagosian|location=London|year=2013}}
* {{cite book|last=Feldman|first=Anita|title=Body & Void: Echoes of Moore in Contemporary Art|publisher=The Henry Moore Foundation|location=Perry Green|year=2014|isbn=978-0-906909-32-4}}
* {{cite book|last1=Feldman|first1=Anita|last2=Pinet|first2=Hélène|last3=Moore|first3=Mary|last4=Blanchetière|first4=François|title=Moore Rodin|publisher=The Henry Moore Foundation|location=Perry Green|year=2013|isbn=978-0-906909-31-7}}
* {{cite book|last1=Feldman|last2=Woodward|first1=Anita|first2=Malcolm|title=Henry Moore Plasters|publisher=Royal Academy of Arts|location=London|year=2011|isbn=978-1-907533-11-2}}
* {{cite book|last=Hedgecoe|first=John|title=A Monumental Vision: The Sculpture of Henry Moore|year=1998|publisher=Collins & Brown|isbn=1-55670-683-9}}
* {{cite book|editor-last=Kosinski|editor-first=Dorothy|title=Henry Moore: Sculpting the 20th Century|publisher=Yale University Press|location=New Haven|year=2001}}
* {{cite book|last1=Mitchinson|first1=David|last2=Feldman Bennet|first2=Anita|title=Moore: The Graphics|year=2002|isbn=0-906909-26-0}}
* {{cite book|last=Moore|first=Henry|title=Henry Moore: Model to Monument|year=1986|publisher=Kent Fine Art|location=New York|isbn=1-878607-21-9}}
* {{cite book|last1=O'Reilly|first1=Sally|last2=Oliver|first2=Clare|title=Henry Moore|year=2003|publisher=Scholastic Library|isbn=0-531-16643-0|url-access=registration|url=https://archive.org/details/henrymoore00orei}}
* {{cite book|last=Seldis|first=Henry&nbsp;J.|title=Henry Moore in America|url=https://archive.org/details/henrymooreinamer00seld|url-access=registration|publisher=Praeger|year=1973|isbn=978-0-87587-054-0 }}
* {{cite book|last=Sylvester|first=David|title=Henry Moore|publisher=Arts Council of Great Britain|location=London|year=1968}} 
* {{cite book|title=Henry Moore: At Dulwich Picture Gallery|publisher=Scala|year=2004|isbn=1-85759-352-9}}

== External links ==
{{commons}}
* [https://www.henry-moore.org Henry Moore Foundation website]
* {{IMJ-Collections|first= Henry|last=Moore|access-date=1 September 2016}}
* [http://www.sculpture.org/documents/scmag01/julaug01/moore/moore.shtml "The Enigma of Henry Moore"] by Brian McAvera. ''Sculpture Magazine'', July/August 2001: Vol. 20, No. 6.
* [http://news.bbc.co.uk/1/hi/entertainment/arts_and_culture/8529691.stm BBC article with archive film of Moore at work]
* [http://www.tate.org.uk/art/artworks?aid=1659 3D model of ''Recumbent Figure'' (1938)] from Tate
* [http://www.unesco.org/artcollection/DetailAction.do?&idOeuvre=1547&nouvelleLangue=en The UNESCO Works of Art Collection]
* [https://www.wsj.com/articles/SB10001424052748703465204575208340440165122?mod=WSJ_LifeStyle_Lifestyle_5 An Intimate Moore, Tom Freudenheim, ''The Wall Street Journal'', 30 June 2010]
* [https://web.archive.org/web/20120927064721/http://www.kew.org/henry-moore/ Henry Moore at Kew, 2007]

{{Henry Moore}}
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{{DEFAULTSORT:Moore, Henry}}
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