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Working Model for Reclining Figure, (Internal and External Forms).
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Working Model for Reclining Figure, (Internal and External Forms).
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Description
Larger Image
Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at:
http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-11.jpg
Title
Working
Model
for
Reclining
Figure
,
(Internal
and
External
Forms)
.
Creator
Moore, Henry (English sculptor, 1898-1986)
Date
1951
Cultural Context
English
British
European
Style/Period
Modern (styles and periods)
Modernist
Theme
Sculpture (visual work)
Bronzes (objects)
Metalwork
Avant-garde
Figurative art
Figures (representations)
Abstraction
Organic
Biomorphic abstraction
Subject
Sculpture
Metalwork
Abstract sculpture
Abstract works
Description
"In
formal
terms
, this
sculpture
manages
to
harmonize
the
claims
of an
aspiring
,
organic
element
within
and the
protective
,
enveloping
characteristics
of an
outer
casing
. This
is
achieved
via
Moore's
signature
'holes'
.
(Caption
,
p.68)
; "In
Britain
at
mid-century
the
work
of the
sculptors
Barbara
Hepworth
and
Henry
Moore
had
secured
the
country
an
international
art
profile
it
had
lacked
since
the
nineteenth
century
.
Moore's
figurative
sculptures
in
particular
managed
to
combine
a
universalizing
rhetoric
with a
deep-rooted
English
inwardness
and
insularity
. The
best
of his
work
,
exemplified
by the
Working
Model
for
Reclining
Figure
of
1951
,
looked
outward
to the
lessons
of
previous
European
avant-gardes
and their
'primitivist'
models
,
although
the
formal
risks
of
late
Constructivist
sculpture
, or
Picasso's
barbaric
bodily
distortions
, were
softened
by a
classically
derived
vision
of
bodily
equilibrium
. By
contrast
it
looked
inward
to the
reassertion
of
'timeless'
national
values
-
particularly
those
supposedly
embodied
in the
English
countryside
-
required
by a
country
both
victorious
and
depleted
after
the
war
. In
tune
with
much
'Neo-Romantic'
imagery
in
British
culture
of this
period
,
Moore
evoked
the
archetypes
of an
island-bound
race
:
rocks
eroded
by the
tides
,
crustaceans
emerging
inquisitively
from their
shells
. But if he
spoke
metaphorically
of
resilience
and
native
caution
, he was
capable
, at his
worst
, of
blandness
. The
outdoor
King
and
Queen
sculpture
at
Glenkiln
in
Scotland
is
perhaps
a
case
in
point
.
[…]
Moore
became
the
'acceptable
face
of
modernism'
for the
postwar
British
establishment
whilst
his
commercial
success
was
consolidated
in
New
York
with a
retrospective
at the
Museum
of
Modern
Art
in
1946
. His
public
sculptures
-
large
,
chunky
semi-abstractions
,
cast
in
bronze
,
raised
on
plinths
-
ironically
connoted
'tradition'
located
in
front
of
Bauhaus-style
buildings.
"
(Excerpt
,
pp.67-68)
Material
Bronze (metal)
Metal
Measurements
53.3 cm (length)
Technique
Metalworking
Casting (process)
Sculpting
Work Type
Sculpture
Bronzes (objects)
Metalwork
Abstract sculpture
Abstract works
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.68, fig.32)
Rights
Photograph reproduced in Hopkins courtesy: Henry Moore Foundation.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-11.jpg
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