Be Inspired: ‘Henry Moore on Sculpture’
A book review by TBSSS teacher Christine Crimmins.
Book: ‘Henry Moore on Sculpture’. Edited by Philip James
Amongst the many treasures for students available in the Tom Bass Sculpture Studio School reference library, is a book Henry Moore on Sculpture, edited by Philip James and published by MacDonald London in 1966.
The book collects together writings and talks by Henry Moore on sculpture. It has the invaluable feature of including images of the works referred to by the sculptor in the book, whether his own work or that of other artists who influenced him. There are 128 black and white images in all!
Moore’s words include biological references sufficient to give the reader a window into his early life as a Yorkshire miner’s son; his early art lessons; unfulfilled family expectations that he train as a school teacher; subsequent attendance at Leeds School of Art and Royal College of Art; travels in Italy and Greece and early and ongoing artistic influences.
Early in the book, maybe ironically, there is a quote from Moore citing his belief that a sculptor (or painter, for that matter) should not spend too much time writing or speaking about his work. It risks releasing tension otherwise needed for his work and also risks the sculptor becoming a ‘theorist’!
Shape and form
It becomes immediately clear from his writing that Moore was extremely shape-conscious. His greatest interest lay with the human figure but he was also deeply interested in natural forms such as pebbles, shells, nuts, flowers and bones. And he was alert to the possibilities of combining various forms into one organic whole. He ever sought the meaning in forms and said that the meaning of form may link us ‘back to countless associations of man’s history.’
Moore saw that tension, power and force in a form can be achieved by making it appear to strain or press outwards from the inside.
The vision thing
Moore believed the vision and expression of the artist is central to a successful work as much as are its formal qualities. The sculpture should be an ‘expression of the significance of life, a stimulation to a greater effort in living.’
Perfectionism in art does not move Moore. Art, and also life, involve conflict and the artist must seek a synthesis of, and come to terms with, opposite qualities. Moore illustrates this by referring to Michelangelo’s Rondanini Pieta. Even though the Pieta appears incomplete and disunified, it reflected Michelangelo’s ‘deeply fundamental human values.’
(Image 1)
Penetrations
I was very interested to read Moore’s words: ‘The first hole made through a piece of stone is a revelation.’ And he goes on to speak of the significance of the hole or penetration in a sculpture, asserting that it is ‘sculpture in air’ which can have the same shape-meaning as a solid mass. ‘To understand space, I have begun to think of actual penetrations into the stone.’ And ‘Sometimes the form was only the shell holding the hole.’
Truth to material
Another concept which has mystified me is that of truth to material. Moore urges sculptors to understand the material, its possibilities and its limitations. He says no figure can stand on its own ankles in stone. And some figures with thin forms, such as wrists and ankles, are not easily made in clay or plaster. Moore found working directly in wax overcame a lot of these problems and the wax model could go straight to the bronze caster.
The primitives
Moore has included chapters on primitive art, Mesopotamia art and tribal sculpture. He sees, in such work, a spatial understanding and an understanding of material which is extremely well developed. The artists knew that what could be achieved in wood as a material could not always be achieved in stone. Not surprisingly, students at the Tom Bass Sculpture Studio School, to this day, study masks, heads and figures created by Moore and inspired by his admiration for Cycladic funerary figures and Mexican masks.
(Image 2)
Carving v. modelling
On the question of carving or modelling and using different materials, some sculptors focus on carving stone or wood while others prefer the additive process of modelling in clay. (And, of the current crop of students at the Tom Bass Sculpture Studio School, many are trying their hand at carving marble, limestone, soapstone and, occasionally, timber.) Moore, while preferring carving, didn’t think it matters how a thing is produced (carved, modelled, welded, constructed or whatever). What mattered to Moore was the vision expressed in the work and the quality of mind revealed behind it. Moore did venture though: ‘Clay is wonderful stuff to punch and feel that the imprint of your fist is left in it.’
And often Moore prepared his sculptures for bronze by using a combined process of modelling and carving a plaster original.
Bronze
Many of Moore’s works are in bronze. Somewhat like Tom Bass AM (who developed his own method of copper deposit to cast his sculptures in metal before bronze casting became readily available), Moore, early on, built a mini version of a bronze foundry at the bottom of his garden. As his works became larger and more complex, he needed to employ a well-established bronze foundry. Moore’s experience in applying his own patina to the bronze is dealt with in some detail.
Size and scale - monumentality
A lot is said by Moore as to the size chosen for a sculpture. The actual physical size of a sculpture has an emotional meaning because we, as observers, relate things we see to our own experience of size as individuals e.g. the respective size of a male or female person. Notably, a very small carving can sometimes give the feeling of a grand scale because of the vision and feeling embodied in the carving. It has a ‘bigness’ to it, for example, the sketches of horses in Leonardo’s sketch book look as they were big enough to make a statue, even though they’re no bigger than a thumbnail.
Moore expounds on the value of this element of ’monumentality’, which he sees as a characteristic of all great sculpture and painting. He poses that monumentality is achieved by keeping the big elements in a proper relationship to each other and keeping the detail subservient. But in any event, monumentality lies in the mind rather than in the material.
A large-scale work of Moore’s own is that in Paris, his 1957-58 Unesco Reclining Figure, which is twice life-size.
(Image 3)
Open air
Moore preferred sculpture to be in the open air, light also being necessary. And a sculpture, he thought, gains by finding a setting that suits its mood. Additionally, the work must be large enough not to ‘get lost’ in the surrounding space. Mostly, an outdoor sculpture should be over life size as the open air reduces the impression of scale.
More chapters and images
Chapters are included on other artists such as Michelangelo, Renoir, Cezanne (a favourite of Tom Bass) and Jacob Epstein. And images of 50 of Moore’s works from between 1939 and 1962 are by extensive and generous commentaries from the artist.
A wrap
I have very much enjoyed this book and it has vastly increased my knowledge of the work of Henry Moore and my understanding of his thinking. As I read and considered his ideas and concepts, I was in some things reinforced in my own thinking. At other times, my questions were answered. And on several occasions I have had to ‘park’ a more complex idea for future consideration and appreciation. Having the images to accompany the commentary was a major bonus for me. And knowing that another 20 years of productive life remained to Henry Moore after these writings is quite amazing.
On modern art, Moore said: ‘And then we all have to fight our obsessions and prejudices and try to keep our eyes open to new forms. I know I do, for one.’
What better way to proceed on our sculpture pathway?
Blog post by Christine Crimmins.
Image credits:
Image 1: Michelangelo Rondanini Pieta, 1564, marble, 195 cm. CC BY-SA 3.0. Credit: Wikimedia Commons.
Image 2: Henry Moore, Mask, 1929, Leeds Museums and Galleries © The Henry Moore Foundation. All Rights Reserved, from Tate website.
Image 3: Henry Moore Unesco Reclining Figure l. 200 in, Travertine marble. By FOTO:FORTEPAN / Urbán Tamás, CC BY-SA 3.0. Credit: Wikimedia Commons.