|Henry Moore, Large Two Forms, 1966-69|
Like his contemporary Barbara Hepworth, Henry Moore's sculpture developed in close relation to the landscape; in contrast to the concurrent exhibition of Hepworth at Tate Britain (see below) where her work is confined to quarters, this exhibition (co-curated by Mary Moore, the artist's daughter) puts the work into the open air - where it belongs.
Moore and Hepworth were lonely representatives of British Modernism on the international stage in the first half of the twentieth century; however, in the 1960s work that, pre-war, had seemed the last word in avant-gardism began to seem conservative, not least in contrast to the radical work of one of Moore's former assistants - Anthony Caro. The Yorkshire Sculpture Park now offers the opportunity to compare and contrast with a concurrent exhibition of work by Caro (see above).
Read a feature by Mark Brown interviewing Mary Moore: Damien Hirst set back art by 100 years, says Henry Moore's daughter.
|Henry Moore, Large Reclining Figure, 1984|
|Henry Moore, Two Piece Reclining Figure: Points, 1969|
|Henry Moore, Draped Reclining Figure, 1978|