He studied at Leeds and at the Royal College of Art in London, where he taught sculpture from 1924 to 1931, moving on to Chelsea School of Art till 1939. The present work was cast from the first edition of 6 plus 1, starting in 1945. Height: 5¾ in. © The Henry Moore Foundation. Your email address will not be published. The college was designed to be a flexible space that catered for all the family, acting as the focal point for the entire community. The woman sits to the right, with hair gathered in a bun, small breasts, and a skirt draped round her body and legs. © The Henry Moore Foundation. While the mother looks towards the father, he and the child he is holding look outwards away from the family. But then the solid stone around them suffers in its shape because its main purpose is to enclose the hole” (Henry Moore, quoted in Alan Wilkinson, ed., Henry Moore: Writings and Conversations, London, 2002, p. 276). Henry Moore was born in Yorkshire in 1898, the son of a coal miner. Moore has indicated facial features on each of the four figures, albeit through the use of abbreviated lines for lips and pin-sized round depressions for eyes. In 2018, he was named by ePrivateclient as one of the 'Top 35 under 35', and by Accountancy Age as one of the 'Top 35 under 35 in business'. My location. This sculpture presents a mother, father and two children (fig.1). New York R. Melville, Henry Moore, Sculpture and Drawings, 1921-1969, London, 1970, no. See Minutes of a Meeting of the Board of Trustees, 20 April 1950, Tate Public Records TG 4/2/742/2. This was often achieved through voids carved into the figure’s bodies and beneath the supports on which they sit, both of which are used in the present work. It made me hesitate to make material do what I wanted until I began to realize this was a limitation in sculpture so that often the forms were all buried inside each other and heads were given no necks…Out of an exaggerated respect for the material, I was reducing the power of the form” (Henry Moore, quoted in John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, London, 1998, p. 46). In these works such as the present one, he abandoned the naturalistic approach he took in 1944 and 1945 in favor of a more abstracted arrangement of the figural group. Moore made several similar works, including a stone sculpture for Harlow in 1954, his Harlow Family Group (LH 364). An affectionate portrait by a rising star of 1:54 heads up a gallery of works by artists who have been inspired by their loved ones, Three-day October season of Impressionist, Modern and Post-War and Contemporary art sales achieves $387,242,500, Everything you need to know about the life and career of the great British sculptor — featuring upcoming lots at Christie’s, Seven great mentor and mentee pairings in the story of art, from Dürer and Baldung to Man Ray and Lee Miller. See Tate Public Records TG 92/344/2. That's it. Discussing the arrangement of the figures, Moore identified how ‘the arms of the mother and the father [intertwine] with the child forming a knot between them, tying the three into a family unity’. This motif of internal forms cacooned within an external shape would serve as the genesis for a completely abstract series of sculptures and drawings he would embark upon beginning in the early 1950s, such as Upright Internal/External Form housed in the collection of Tate, London. Combining both the naturalistic and the non-naturalistic, it is, as Will Grohmann has observed, "far removed from the others in its formal aspects" (The Art of Henry Moore, London, 1960, p. 142). Each measurement referred to a specific point on the surface of the model, which could then be recreated to the correct scale. Originally a schoolteacher and born the seventh in a family of eight children, Moore decided on a humanist image that would promote the values which fuel education. "Family Group" redirects here. 201-210, of Henry Moore Complete … Read more. Illustrated with works offered at Christie’s, From a Degas that went for £180 in 1892 to a Monet that fetched £40 million in 2008 — masterpieces by some of painting’s greatest innovators, Both in Belle Epoque Paris and Berlin between the wars, Jeanne Mammen documented European café society from a woman’s perspective, Islamic Art specialist Behnaz Atighi Moghaddam on a magnificent garment that would have been worn by a member of the royal inner circle, Impressionist and Modern Art Evening Sale. The family group and mother and child, which had captured Moore's imagination since his early visits to the British Museum reflect his own personal experience of maternal devotion but also became evocative symbols of the ideal domestic relationship, providing a sense of community, parental unity and stability after the dark days of the war. The council's education officer Henry Morris approached Moore again in 1944, and Moore made a small clay model in 1945, now held by the Henry Moore Foundation in Perry Green, Hertfordshire. 364, p. 353 (another example illustrated, p. 170)Alan G. Wilkinson, Henry Moore Remembered: The Collection at the Art Gallery of Ontario in Toronto, Toronto, 1987, fig. You could also do it yourself at any point in time. I realise that from the architect’s point of view the position he had decided upon was the proper one. The two adults each sit on a stool, which are positioned at an angle to each other. John Rothenstein, letter to Henry Moore, 1 June 1950, Tate Public Records TG 4/2/742/2. Curt Valentin, letter to Henry Moore, 17 February 1950, Tate Public Records TG 4/2/742/2. The second casting from 1955-1957 by Fiorini is an edition of 9 plus 1. Reclining & Standing Figure and Family Group. Henry Moore, Family Group (1950) bronze, sited at the entrance to Barclay School, Stevenage, Hertfordshire, England. In 1948, a year after this work was conceived, Moore would be awarded first prize for sculpture at the Venice Biennale, cementing his international prominence as a leading post-war artist. As he explained, "instead of just building a school, he [Morris] was going to make a centre for the whole life of the surrounding villages, and we hit upon this idea of the family being the unit we were aiming at" (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Aldershot, 2002, p. 89). The architect wanted a free-standing group out of doors, and had a position ready for it in his plans. For other uses, see. This was the first time Moore made a near-life-size plaster model. Family Group, by Henry Moore. Numerous photographs at the Henry Moore Foundation show a plaster of. Several years later, however, he was approached to make a sculpture for the Barclay Secondary School in Stevenage and returned to the theme. He travelled widely in Europe, and was an official war artist from 1940 to 1942. 122, p. 8 (another example illustrated, p. 168) John Hedgecoe, ed., Henry Moore, New York, 1968, no. The mother also has a cloak draped around her shoulders and back. It has such great elemental simplicity…The Cycladic marble vases are remarkable inventions, seen just as sculpture in themselves – and the thinness, looked at from the side, of the standing idol figures, adds to their incredible sensitivity,” he recalled (Henry Moore, quoted in a letter to Lord Eccles, June 1969 in Henry Moore, Henry Moore at the British Museum, London, 1981, p. 13). He first explored the subject in the mid-1930s when asked to create an outdoor sculpture for a local college near Cambridge, England. Family Group, Moore, Henry, OM, CH, 1949, cast 1950-1, Bronze. In this model, the father's head had a distinctive notch, also seen in other early works such as Four-Piece Composition: Reclining Figure of 1934, and Reclining Figure 1938. Moore also made several other clay models, some cast in bronze, with three held by the Tate. Follow us. Henry Moore, letter to Dorothy Miller, 31 January 1951, reprinted in Wilkinson 2002, p.273. MOMA had housed Moore's Recumbent Figure 1938 during the Second World War, where it had been for an exhibition, before it returned to the UK. Executed in 1947, this work is from an edition of 7 plus 2 artist's proofs. She is holding the child in the air above her lap with both hands. Amanda Lo Iacono It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology. Family Group. Family Group. Privacy Statement - opens in a new window. Sand casting is quicker and less labour-intensive than the lost wax method but is also generally less suitable for reproducing very intricate shapes or surface details. signed 'MOORE' (on the back of the base)
However, it has recently been moved indoors to the school’s reception area. Does this text contain inaccurate information or language that you feel we should improve or change? +1 212 940 1278, Paysan catalan inquiet par le passage d'un vol d'oiseaux, 15 7/8 x 10 1/2 x 7 in. (14.6 cm.) It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology. long by about 8ft. This bronze cast was unveiled at Barclay School in Walkern Road in 1949, originally the only one of four existing casts on open-air show in Great Britain. The figures are slightly smaller than life size. Henry Moore quoted in Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, edited by Robert Melville and recorded by the British Council 1955: typescript; copy in HMF library, As I was there at the time in 1950 I wondered if there were any pictures from the opening day, Your email address will not be published. After an unsuccessful attempt to steal the sculpture in May 2010, it was moved to a more secure place inside to the school's reception area. Of this Moore espoused, “Making a hole in stone is such a willed thing, such a conscious effort, and often the holes became things in themselves. Stevenage school showcases Henry Mooreâs, Reclining Figure: External Form 1953â1954, Three-Piece Reclining Figure No. Henry Morris, the Director of Education for Cambridgeshire, asked me to do a sculpture for the Impington Village College, the first of the modern schools in England…designed by Walter Gropius. Available through leading London art gallery Osborne Samuel. The two adults mirror each other, turning slightly towards each other and leaning slightly back, with their outside arms curving towards the centre of the composition. Originally carved from a single piece of stone, this four-figure arrangement captures a unique sense of familial harmony. Here was something I couldn’t help doing” (Henry Moore, quoted in James Johnson Sweeney, “Henry Moore”, Partisan Review, New York, March - April 1947, p. 184).Moore’s preoccupation with the subject would culminate with his first realized public commission in bronze by the Barclay School in London in 1948-1949, for which he made a five-foot-tall Family Group cast in an edition of 5. (The scheme unfortunately has since been dropped.) (40.5 x 26.7 x 17.8 cm. 1, p. 14, no. He was part of the Moore Stephens LLP family office team and now is a director in Moore Family Office working with the Moore Family Office Group. “I love and admire Cycladic sculpture. It measures 154 by 118 by 70 centimetres (61Â in ÃÂ 46Â in ÃÂ 28Â in) and weighs 475 kilograms (1,047Â lb). 3, p. 528 (another example illustrated, p. 176) Ionel Jianou, Henry Moore, Paris, 1968, no. Signed Moore and dated 44 (lr) Henry Moore. In such circumstances architects might consider the use of a turn-table, not to keep the statue slowly turning – that would be a horrible idea – but to present another view of it every month or so. Made for Barclay School in Stevenage, it evolved from drawings in the 1930s, through a series of models to bronze castings in 1950â51. Moore’s Family Group works have become synonymous with his influence on post-war and contemporary sculpture, a legacy which is celebrated still today. Pauline Maryan. He specialises in UK tax and the taxation issues relating to international families. This statue was Moore's first large scale commission for a bronze and his first commission following the Second World war. G.C. *. We stood it as far away from the wall as possible, but one can only see it from limited number of views, one cannot get those sudden revelations that occur when one comes upon a sculpture from an unexpected angle.