HENRY MOORE In the Arts Council Collection

Henry Moore (1898-1986) is a key figure for the Works on paper Arts Council Collection. He was an important Drawing from life was an essential and ongoing advisor to the acquisitions committee during the aspect of Moore’s creative process, as many early 1950s, shaping the sculpture collection by drawings in this exhibition demonstrate. Seated advocating the acquisition of a significant group Figure (1934), shows Moore’s exploration of of post-war British sculpture by artists including the human form, while Ideas for Sculpture: Kenneth Armitage, Lynn Chadwick and Barbara Transformation of Bones (1932) and Studies of Hepworth. Moore’s representation within the Bone, Shell and Mushroom (1932) demonstrate collection is also very strong with sculptures the inspiration that Moore drew from tactile and works on paper spanning five decades. This natural forms. Over time, Moore became display celebrates the work of Henry Moore in increasingly interested in the transformative the Collection, bringing together our complete qualities of such objects, gradually accentuating holdings of eleven sculptures and fifteen works their abstract and organic properties; these on paper. Seen together, the works provide drawings became known as the ‘transformation a succinct history of Henry Moore’s practice drawings’. Moore’s keen observation of the between 1929 and 1962, with key creative human form found a different voice during his developments and themes visible in both two time as an official war artist during the Second and three dimensions. World War. Sleeping Mother and Child (1942) is a key example of the ‘Shelter Drawings’ series About our holdings from this period. The primary function of the Arts Council Collection has always been to lend modern Developments in abstraction and contemporary British art to a wide range of The progression and influences on Moore’s venues across the UK. The earliest acquisitions journey into abstraction can be mapped in this of work by sculptors were easily-portable display through key works such as Composition works on paper, and subsequent purchases of (1934) in which the human form is refined into sculpture were table-top in size. The first work several individual pieces which together suggest by Henry Moore to be acquired for the Arts a reclining figure. Another work demonstrating Council Collection was a drawing, Seated Figure Moore’s shift towards abstraction is Stringed (1934), which was purchased in 1948 for the Figure (1938) one of a series of sculptures sum of £45. The first sculpture to be acquired inspired by visits to the London Science was Seated Figure Against a Curved Wall (1957), Museum, where he discovered the geometric purchased for £700 in 1959. Other acquisitions and sculptural qualities of mathematical soon followed, and in 1963 our holdings were models. greatly enhanced following the purchase of eight drawings and seven sculptures following an Arts Council touring exhibition of Moore’s work. This was a coup for the Collection, and the works have been displayed time and time again to much acclaim. HENRY MOORE In the Arts Council Collection

Representing the figure About Henry Moore Working Model for Reclining Figure (Internal Henry Moore (1898-1986) was born in Castleford, and External Forms) (1951) reveals Moore’s Yorkshire, the son of a miner. From 1917 to investigation into the relationship between 1919 he served in the army, before attending internal / external space, body and soul, mother Leeds School of Art and the Royal College of Art and child. Head of a King (1952-53) and Helmet (1921–24). His first solo exhibition was held at Head No. 3 (1960) are prime examples of Moore’s the Warren Gallery, London in 1928. Moore was fascination with the human head. Head of a King a member of the London Group (1930–37), 7 marks Moore’s interest in the emotive effects of & 5 Society (1932–35) and Unit One (1933). He distortion and abstraction whereas Helmet Head represented Great Britain in the 1930 Venice No.3 forms part of a series of works inspired by Biennale, and his work was included in the the armour Moore saw on display at the Wallace International Surrealist Exhibition in London in Collection and at the Victoria & Albert Museum 1936. In the role of official War Artist (1940–42) in London. The series reflects Moore’s ongoing Moore produced iconic scenes of the London interest in the relationship between internal and Underground. Many major retrospectives and external forms and also links to his fascination public commissions across the world followed with naturally protective objects such as shells. including: Temple Newsam, Leeds (1941), Museum of Modern Art, New York (1946), Festival Sculpture in the environment of Britain (1951), and the Serpentine Gallery, Henry Moore’s sculptures have inhabited many London (1978). Moore was a Trustee of the Tate different environments across the world. His Gallery (1941–8, 1949–56), the National Gallery first public commission as a sculptor was to from 1956 and a member of the Art Panel of the create a relief for St James’s Underground Arts Council (1945–51). Station in 1927. The drawing, Ideas for West Wind Relief (1927), reveals a range of possible About the Arts Council Collection solutions to the brief. This commission is said The Arts Council Collection is the largest loan to have been of great significance to Moore’s collection of modern and contemporary British development as an artist, leading to a complex art in the world. It is lent to public buildings investigation into the reclining form. Moore’s throughout Britain and to exhibitions nationally later commission, Time-Life Screen (1952-53), and internationally. Since its foundation in 1946 designed for the Time-Life Building in London, the Collection has acquired over 9000 works is represented here by a working model. The including sculptures, paintings, drawings, prints, final commission comprised four abstract stone photographs, videos and installations. The aim blocks which could be pivoted to provide a 360 of the Collection is to acquire innovative works degree view to passersby. A later model, Working by artists living in Britain and to achieve this it Model for Knife-Edge Two Piece (1962) was actively seeks work by emerging artists. The Arts chosen to be made into a much larger version Council Collection team work with a changing for a commission which now resides outside the acquisitions panel of artists, writers or curators, National Gallery in Washington DC. who are appointed for eighteen months at a time, visiting exhibitions and studios. To find out more about the Arts Council Collection and to search the Collection online, visit www. artscouncilcollection.org.uk