Henry Moore - Yorkshire Sculpture Park

Henry Moore, Large Two Forms, 1966-69

Henry Moore: Back to a Land is at The Yorkshire Sculpture Park until 6 September 2015.
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

Francis Bacon / Henry Moore - Ashmolean Museum

Francis Bacon, Study for a Portrait of Pope Innocent X, 1965

Francis Bacon / Henry Moore: Flesh and Bone is at the Ashmolean Museum until 19 January 2014.
Henry Moore, sculptor, (1898-1986) and Francis Bacon, painter, (1905-1992) were contemporaries and, arguably, through the 1950s and 60s the most successful and famous British artists of their generation. They were however very different men, as neatly described by Simon Wilson in the RA Magazine:

Henry Moore: dour, taciturn, down-to-earth, sober Yorkshireman and countryman, emphatically heterosexual, notably uxorious, draughtsman of genius, sculptor to his fingertips. His friend the poet Stephen Spender once noted how ‘normal as a man’ Moore was. Francis Bacon: garrulous, wasp-witted, champagne swilling metropolitan dandy, promiscuous masochistic homosexual with a taste for rough trade, painter of genius who claimed never to make drawings. Moore, sculptor of massively calm monuments of the earth mother in repose; Bacon, painter of grotesquely twisted humanity, writhing agonising in the void.

Though both artists can be seen to have drawn influence from Picasso the moods of their work seem polar opposites: in Alastair Smart's words, A case of existential howls and universal serenity. Nevertheless, this exhibition sets out to find common ground between the two artists: they were both, after all, obsessively preoccupied with the body. Rachel Cooke quotes Myfanwy Piper's perceptive observation in 1963, that Moore 'never forgets… the strength of the bone beneath the flesh' while Bacon 'never forgets that flesh is meat'.

An interesting exhibition. Read reviews by Rachel Cooke, Alastair Smart, Simon Wilson.

Henry Moore, King and Queen, 1952-3

Francis Bacon, Second Version of Triptych, 1944

Henry Moore, Reclining Figure: Festival, 1951

Francis Bacon, Lying Figure in a Mirror, 1971

Henry Moore, Animal Head, 1951

Francis Bacon, Head II, 1949