News Release: 16 October 2001

Major Henry Moore Retrospective on View at The National Gallery of Art 21 October 2001 - 27 January 2002

Washington, DC-- Henry Moore, the first major U.S. retrospective of the artist's work in nearly 20 years, will be on view in the East Building of the National Gallery of Art from 21 October 2001 through 27 January 2002. The exhibition traces the crucial stages of Moore's development over the course of 60 years--in particular, his early engagements with primitivism, his dialogue with abstraction and surrealism during the 1930s, his drawings of London during World War II, and his postwar interest in large-scale public sculpture. More than 160 of his works are represented, including carved works in wood and stone, bronze sculptures, plaster maquettes, and drawings.

"Henry Moore is one of the most celebrated sculptors of the 20th century, and his works can be found throughout the world," said Earl A. Powell III, director, National Gallery of Art. "This retrospective offers a comprehensive assessment of Moore's work and provides visitors the opportunity to appreciate his many contributions to modern sculpture."

Sponsors and Organizers

The exhibition at the National Gallery of Art is made possible by a generous grant from the Catherine B. Reynolds Foundation.

"Our goal is to ignite the imagination, to build character, and to inspire young people to aim high and reach for greatness. All accomplishments begin with the imagination of a single individual, whose powerful new ideas lift civilization to undreamed-of heights," said Catherine Reynolds, the chair of the foundation board. "Henry Moore was one such individual, and it is in this spirit that we celebrate his remarkable achievements."

The exhibition was organized by the Dallas Museum of Art with the collaboration of the Henry Moore Foundation. Initial support for research and organization was provided by The Dallas Foundation. Jeffrey Weiss, curator of modern and contemporary art at the National Gallery of Art, is coordinating the Washington installation.

Air transportation was provided by American Airlines. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Catalogue

A fully illustrated catalogue entitled Henry Moore, Sculpting the 20th Century, edited by Dorothy Kosinski, and published by the Dallas Museum of Art, may be purchased for $50 in the Gallery Shops or by calling 1(800) 697-9350.

The Exhibition

The 1920s
The exhibition opens with prominent sculptures from the beginning of Moore's career that illustrate the influence of primitivism on his work. Encounters with the bold forms of African and pre-Columbian sculpture liberated Moore from the constraints of the neoclassical tradition. The strong influence of non-Western art can be seen in works such as Dog (1922) and Reclining Woman (1927).

Abstraction and Surrealism: The 1930s
Influenced by surrealism, Moore's works from the 1930s represent his most radical and inventive phase. Pieces from this era demonstrate the artist's unique synthesis of abstraction and representation. Figurative works, such as Girl (1931), gave way to more abstract forms, such as Family (1935). The remarkable Reclining Figure (1939) conveys the ambiguity between abstraction and figuration and exemplifies a recurring motif in Moore's work--the reclining figure. Additional works from this era include the fascinating Stringed Figures. Inspired by mathematical models, these works, such as Stringed Figure (1937), illustrate another important theme--the interaction between internal and external forms.

The 1940s and 1950s
Materials for sculptural projects were rare during and just after World War II, and Moore turned his attention to drawing, executing compelling images of the war's devastating effects. Tube Shelter Perspective (1941) shows Londoners taking shelter in the Underground during German air raids. Just after the war, with the birth of his only daughter, a new theme emerged in Moore's work--that of the family. Family Group (1948-1949) reflects a deepening interest in complex human relationships. Moore's reassuring artistic themes--the family, the reclining figures, the abstract biomorphic forms--found widespread approval and further enhanced his popularity during the postwar period. During the 1950s, Moore briefly ventured into darker thematic territory. The emaciated body of Warrior with Shield (1953-1954), for example, certainly evokes the atrocities of war.

Moore's Monumental Sculpture
The latter part of the exhibition examines Moore's large-scale works from the 1960s through the time of his death in 1986. These sculptures mark a profound shift from private art to public art, as Moore turned to creating sculpture, mainly in bronze, that was monumental in scale. The final stages of Moore's long career are dominated by architectural commissions and imposing public works. Several large sculptures, as well as models, can be seen in the exhibition, including Oval with Points (1968-1970) and a work commissioned for permanent display in front of the Gallery's East Building, Knife Edge Mirror Two Piece (1976-1978).

General Information

The National Gallery of Art and its Sculpture Garden are at all times free to the public. They are located on the National Mall between 3rd and 9th Streets at Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on December 25 and January 1. For information call (202) 737-4215 or the Telecommunications Device for the Deaf (TDD) at (202) 842-6176, or visit the Gallery's Web site at www.nga.gov.

Visitors will be asked to present all carried items for inspection upon entering the East and West Buildings. Checkrooms are free of charge and located at each entrance. Luggage and other oversized bags must be presented at the 4th Street entrances to the East or West Building to permit x-ray screening and must be deposited in the checkrooms at those entrances. For the safety of visitors and the works of art, nothing may be carried into the Gallery on a visitor's back. Any bag or other items that cannot be carried reasonably and safely in some other manner must be left in the checkrooms. Items larger than 17 x 26 inches cannot be accepted by the Gallery or its checkrooms.

For additional press information please call or send inquiries to:

Press Office
National Gallery of Art
2000B South Club Drive
Landover, MD 20785
phone: (202) 842-6353 e-mail: pressinfo@nga.gov

Deborah Ziska
Chief of Press and Public Information
(202) 842-6353
ds-ziska@nga.gov

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