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Henry Moore's 'Knife Edge Mirror Two Piece', at the National Gallery of Art, Washington

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Henry Moore's 'Knife Edge Mirror Two Piece', at the National Gallery of Art, Washington Henry Moore’s ‘Knife edge mirror two piece’, at the National Gallery of Art, Washington by JOHN-PAUL STONARD STANDING AT THE ENTRANCE to the East Building of the National Gallery of Art, Washington, Henry Moore’s Knife edge mirror two piece (1976–78; Fig.43) 1 is one of the artist’s best- known works in North America. It keeps company in this respect with the Lincoln Center Reclining figure (1962–65) in New York and Three forms vertebrae (1978–79) outside the Civic Hall in Dallas, as well as Atom piece (1964–66), commemorating the site of the first nuclear chain reaction in Chicago, now renamed Nuclear energy . The latter is one of the few sculptures to have escaped the fate of Moore’s ‘late-period’ works, defined by Peter Fuller over two decades ago, as having received ‘very little critical evaluation or interpretation’, a state of affairs that holds true today. 2 From a European perspective, the con - centration of important late works, particularly commissions, in North America has led to a narrow view of this period as dominated by monumental, impersonal public sculptures lacking the vivid historical context of the pre-War carvings and wartime Shelter drawings. 3 Yet it was only after 1960 that Moore was to create some of the most intriguing works of his career, developing ideas that had first been broached in the 1930s. Powerful, complex abstract forms, experimentation with materials and scale, as well as a new dynamic relationship with architecture, define the work of this period. Moreover, it was primarily in North America that Moore found the atmosphere in which this new phase could unfold. 4 Recent research on Moore has vigorously challenged the hagiography that for so long encumbered writing on his work, but has not so far countered the bias towards the first four decades of his working life. 5 This article aims to illuminate the commission - 43. Knife edge mirror two piece , by Henry Moore. 1976 –78. Bronze, 535 by 721 by ing and fabrication of Knife edge mirror and to suggest some ways 363 cm. (National Gallery of Art, Washington, gift of the Morris and Gwendolyn in which it epitomises Moore’s late period, and what might Caffritz Foundation, 1978. Photograph: Gregory Vershbow, January 2011). even be described as his transatlantic rebirth. Moore’s aversion to architects and architectural commissions is well known, and it is thus surprising to learn the degree to Director of the National Gallery of Art, J. Carter Brown, who which the forms of Knife edge mirror were developed in concert was the ‘third man’ in the commissioning process, wrote to with I.M. Pei, the architect of the East Building. The then Moore in May 1973 requesting ‘a great Henry Moore for the This article is based on a paper first given as Colloquium CCXLII at the Center Essays , London 2003, pp.221–41; C. Stephens: ‘Henry Moore’s “Atom Piece”: The for Advanced Study in the Visual Arts, at the National Gallery of Art, Washington, 1930s generation comes of age’, in Beckett and Russell, op. cit ., pp.243–56; and and was completed while the author was Ailsa Mellon Bruce Senior Fellow at P. Fuller: Henry Moore , London 1993, p.45. For a recent publication that virtually CASVA. Many thanks are due to friends and colleagues at CASVA for their omits any account of Moore’s work in North America, see C. Lichtenstern: Henry comments. Thanks also for their assistance to James Cooper, Penelope Curtis, Moore. Work – Theory – Impact , London 2008. Maygene Daniels, Amanda Douberley, Anita Feldman, Valerie Fletcher, Jean 3 One writer has recently described the ‘Beaux-Arts monumentality’ of these Henry, Derek Howarth, Dorothy Kosinski, Paul Matisse, James Meyer, Michael works, revealing the ‘establishment – rather than the avant-garde nature of his late Parke-Taylor, Michael Phipps, Shelley Sturman, Katy May, Gregory Vershbow production’; see C. Pearson: Designing UNESCO. Art, Architecture and International and Anne Wagner. Throughout these notes the National Gallery of Art, Washing - Politics at Mid-Century , Farnham 2010, p.264; and C. Stephens, ed.: exh. cat. Henry ton, is cited as NGA. This article is for Malcolm Clendenin (1964 –2011) and his Moore , London (Tate) and Toronto (Art Gallery of Ontario) 2010, esp. p.17. friends at CASVA. 4 H. Seldis: Henry Moore in America , New York 1973, remains the best account of 1 Catalogued as Mirror knife edge in A. Bowness, ed.: Henry Moore. Complete Sculpture, Moore’s presence in North America, and includes important primary material. Such Volume 5, 1974–1980 , London 1983, no.714. The title Knife edge mirror used through - an account should be set alongside the commissions Moore received from German out this article is an abbreviation of that given by the NGA: Knife edge mirror two piece . museums and municipalities, for which, see Lichtenstern, op. cit. (note 2). 2 For Nuclear energy , see I.A. Boal: ‘Ground zero: Henry Moore’s “Atom Piece” at 5 See, for example, Beckett and Russell, op. cit. (note 2); A. Wagner: Mother Stone , the University of Chicago’, in J. Beckett and F. Russell, eds.: Henry Moore. Critical New Haven and London 2005; and Stephens, op. cit. (note 3). the burlington magazine • cliiI • april 2011 249 HENRY MOORE’S ‘KNIFE EDGE MIRROR TWO PIECE’ 45. The ‘Henry Moore Sculpture Platform’, East Build - ing, Nation - al Gallery of Art, Washington. (Photo - graph: Gregory Vershbow, 44. Large spindle piece , by Henry Moore. 1974 (first cast in 1968). Bronze, 335 cm. January high. (North Carolina Museum of Art, Raleigh). 2011). Pennsylvania façade’ of the East Building. 6 He emphasised the his involvement with the constructivist milieu of the 1930s, importance of Pennsylvania Avenue as the ‘great symbolic way when collaborations were encouraged, which, as his biographer joining the White House with the Capitol and the Supreme Roger Berthoud has noted, brought out a ‘competitive feeling Court’, and added that Pei had custom-designed a pedestal at which marked his attitude to architects and their products for the end of a long sculpture pool on the north side of the build - much of his life’. 12 The origins of this were certainly in Moore’s ing. A mock-up of a small bronze by Moore had already been self-conception as an artist who had inherited the task of forging tried on the architectural model, as photographs in the Gallery sculpture as an independent art from those such as Gaudier- archive demonstrate. 7 Brzeska, Brancusi and Epstein at a time when, as Ezra Pound Moore accepted the commission immediately. 8 He was once put it, most sculptors were ‘engaged wholly in making visited by Brown at his home and studio in Perry Green, Much gas-fittings and ornaments for electric light globes . .’. 13 As Hadham, that summer but it was not until May the next year Moore later made clear when working on the Reclining figure for (1974) that he travelled to Washington to view the site, still the Lincoln Center, this was not only a matter of retaining a free under construction, and also to view the large architectural choice of subject-matter, but also of avoiding sculpture being model of the East Building. 9 It was then that Moore suggested a ‘stuck up against the building in such a way that you can’t see crucial change to the siting of the sculpture, moving it north it from all sides’. 14 Such sculpture entered a type of ornamental of the building line, essentially sliding Pei’s pedestal out from the vassalage that Moore particularly loathed. terrace. 10 Moore’s rationale was clear: he did not want the sculp - Brown was obliged to accept Moore’s wish. 15 Pei redesigned ture to be subservient to the building, to be mere decoration. He the pedestal as a triangular promontory jutting out from the was perhaps more mindful of this condition than the other artists terrace. Shortly after, Pei sent Moore drawings of the redesigned commissioned to make works for the new building, including plinth, now named the ‘Henry Moore Sculpture Platform’ Alexander Calder, Isamu Noguchi, Anthony Caro, David Smith (Fig.45), reassuring Moore that ‘while the base is still part of the and James Rosati, all of whom contributed sculptures, Joan Miró building, the sculpture on the other hand is definitely liberated and Hans Arp, who were represented by tapestries, and Robert from it’. 16 Moore’s doubts were assuaged by the triangular Motherwell, who contributed a large painting. 11 Moore’s aver - pedestal, and in April 1975 he wrote proposing the sculpture sion to producing ‘architectural sculpture’ can be traced back to Spindle piece (Fig.46). ‘From my memory of the site and its 6 J. Carter Brown to Henry Moore, 7th May 1973, NGA: E.B. Art – MOORE (1969); Two forms (1966 –69); and Sheep piece (1972). Harry A. Brooks to Charles Spindle Piece (1972 –12/1975) (cited hereafter as NGA1). Informal discussions had Parkhurst, 1st March 1973, NGA Curatorial Files: Moore, Henry. 1978.43.1. Knife begun in 1972, and two of Moore’s dealers attempted to intercede. Kurt Delbanco Edge Mirror Two Piece. had written in June 1972 that Moore would consider contributing a ‘new mon - 7 The work can be identified as a model based on a Reclining figure by Moore from umental vertical sculpture’; Kurt Delbanco to John Bullard, 28th June 1972, NGA1; 1969–70; thanks to Michael Phipps for this information. David Scott replied that discussions were ‘premature’ and that there were ‘several 8 Henry Moore to J. Carter Brown, 23rd May 1973, NGA1. alternatives we must explore first’; David Scott to Kurt Delbanco, 18th July 1972, 9 I.M.
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