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Henry Moore Review 13 Issue Number Thirteen Winter 2004 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction 11 Henry Moore Institute Sir Ewen Fergusson Penelope Curtis 4 Director’s Report 14 Contemporary Projects Tim Llewellyn David Thorp 6 Summary Financial 16 Grants Programme Statement 2003– 2004 20 Publications 7 Henry Moore Collections and Exhibitions David Mitchinson & 23 General Information Anita Feldman Bennet Frontispiece: Front Cover: Henry and Irina Moore in the studio at 11a Parkhill Road c.1930. Mary Moore at the unveiling of the Blue Plaque at 11A Parkhill Road, 19 May 2004. Photo:The Henry Moore Foundation Archive Photo: Martin Davis Chairman’s Introduction Between 1929 and 1940 Henry and Irina Moore lived at The Foundation often works through partnerships and the studio and flat at 11A Parkhill Road, Belsize Park (see this year there have been some notable examples, which front cover and opposite). This year, at a friendly and reflect the continuing international reputation which agreeable ceremony in the summer sun, a ‘blue plaque’ was Moore’s work continues to command. We congratulate the installed to mark that important period in Moore’s career. curators at the Hakone Open-Air Museum, Japan on the The coming of the Second World War scattered the group success of their exhibition, Henry Moore: The Expanse of of artist friends in Hampstead. When, in 1940, Barbara Nature – The Nature of Man, to which we made a number Hepworth, Ben Nicholson and their family left 7 Mall of important loans. This exhibition was chosen to celebrate Studios, on their move to St Ives, the Moores lived there the 35th anniversary of the founding of the museum. In briefly before they too moved to the country. Athens, Marina Lambraki-Plaka, Director of the National Hoglands, a listed Elizabethan timber-frame house in Gallery, marked the Cultural Olympiad with two exhibitions Perry Green near Much Hadham, Hertfordshire, provided in partnership with the Foundation and with notable assis- a respite from the bombing that had threatened them in tance from the British Council. Six Leading Sculptors and Hampstead. It was to remain their home for the rest of the Human Figure explored the relationship between Rodin, their lives. The house had been divided into two parts and Bourdelle, Maillol, Brancusi, Giacometti and Moore and initially the Moores rented only one half. After a few months the antique world in a very successful exhibition at the they had the fortunate opportunity to buy both halves for National Gallery supported by the museums and foundations the considerable sum of £900. Moore had received £300 of all the artists. She also celebrated the opening of the from the artist Gordon Onslow-Ford for the great elmwood new National Glyptothèque in Athens with Henry Moore: Reclining Figure of 1939 (LH 210), now in the Detroit Retrospective, a major exhibition of bronze sculptures illus- Institute of Arts, and this provided the deposit. Note that trating themes drawn from classical antiquity. Both exhibitions the sculpture that was then worth one third of the value of drew large audiences. Tim Llewellyn and I were able to the house is today, despite the extraordinary rise in property visit Athens in September to congratulate the Director and to values since the last war, probably worth at least ten times as see at first hand the contribution the Foundation had made. much as the house! In subsequent years substantial additions Visitors to the Henry Moore Institute are also currently were made and further farmland and buildings acquired. benefiting from an important partnership with the Victoria Since Mrs Moore died in 1988, Hoglands has belonged to and Albert Museum, London, through the exhibition, Depth Mary Moore and her children, although it has not always of Field: the place of relief in the time of Donatello, which has been occupied. been widely reviewed. The Foundation is grateful to the The Foundation’s trustees are delighted that this year trustees and staff of the V&A for the opportunity to show the Foundation has been able to acquire Hoglands and its some works of very high importance in Leeds as part of our garden from Henry Moore’s family and to conclude an remit to explore sculpture of all periods. arrangement with them for an extended loan of a large In last year’s Review we announced that we had reluc- proportion of the contents of the house. After a number of tantly decided to bring Contemporary Projects to an end. years of refurbishment and conservation, we intend, jointly, In these pages will be found a record of their great achieve- to present the ground floor of the house and the gardens in ment. The curator, David Thorp, will be leaving us at the a way which would have been immediately recognisable to end of the year and I would like to take this opportunity on a visitor to Hoglands at the end of the 1960s. A lively behalf of the trustees and everyone at the Foundation to display illustrating how Henry Moore lived, and the thank him for his invaluable contribution to our work and objects with which he chose to surround himself will add to wish him much future success. an important new dimension for visitors to Perry Green, just as it did during the artist’s lifetime. Ewen Fergusson It has been a successful but very hard-working year for all the staff of the Foundation and I should like to congratulate David Mitchinson at Perry Green and Penelope Curtis in Leeds with their teams for a year of the highest quality of achievement. 3 Director’s Report Institute, unless of course they make the understandable initial mistake of assuming that the Institute is primarily concerned with Moore himself rather than named after him. In the past decade we have tried hard to find a successful Similarly, our support for academic research into the nature way of presenting a coherent picture of all the Foundation’s and history of sculpture is well known among scholars and activities. We started the Review nine years ago as a means the Institute with its unique blend of primary research and to this end and the Calendar followed. Neither reaches a exhibition-making in the whole range of Western sculptural very wide audience; certainly not as wide as we think would output, including the contemporary, is acquiring a world be justified by what we do. We hope that our central role reputation in the field. However, not all regular readers of in increasing knowledge and appreciation of the work of the Henry Moore Institute Newsletter also follow closely the Henry Moore is well understood, but from Moore’s death in Foundation’s Henry Moore programme or visit contempo- 1986 until quite recently, interest in his work in the United rary shows initiated or supported by the Foundation. Kingdom has been subdued. Much of the Foundation’s Nevertheless, there is a central theme binding all these activity in this respect, as it was in the artist’s lifetime, has strands together, which Moore consciously made the focus been focussed on responding to the enormous demand for of his Foundation: the understanding and appreciation of exhibitions and loans from a disparate range of overseas sculpture – all sculpture. Thus, we approach what we do in institutions, many of them with very large audiences with an holistic way, each aspect of our programme contributing whom it is impossible for us to communicate efficiently in to the main purpose. Consciously or unconsciously, artists so the long term through publications like the Review and often illuminate each other’s work and there is much we can Calendar. For example, how could we maintain links with learn from them as well as from our other colleagues across the thousands of people who saw our exhibitions in China the subject field. But how do we communicate this coherently? a few years ago? Nevertheless, we would like to maintain a Like many other organisations, we believe that rapidly dialogue with these audiences and provide them with the developing acceptance of new technology leading to the means to develop their engagement with our subject. remarkable proliferation of access to the world wide web, Those who follow our activities because they have an coupled with greatly improved website design, provides the interest in Moore or who have encountered Moore’s work key. We started our website www.henry-moore-fdn.co.uk a through our programme are not necessarily also as few years ago and, having had one overall redesign, today concerned with our projects in the contemporary field, the it receives a gratifying number of visitors. However, website Grants Programme or the activities of the Henry Moore design criteria have changed a great deal and new technology Stage set design by Henry Moore for Gian Carlo Menotti’s 1967 production of Mozart’s Don Giovanni in Spoleto; the image forms part of a recent gift to the Foundation’s archive from the Galleria Civica d’arte moderna, Spoleto and Giovanni Carandente. 4 provides a much more developed range of applications than we currently carry. So we thought it wise to look again at our site. It contains a huge body of information, but this often lies so far beneath the surface that only the sophisticated or persistent visitor can reach it. We need to make this information more readily accessible. We also decided that the site’s structure had been defined by our perception of our own needs rather than those of the visitor and that it should be much more approachable and interactive. We selected the Bureau for Visual Affairs to help us and have all enjoyed working with Simon Piehl and Tom Elsner on the new design.
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