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).
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