Henry Moore. Alan Wilkinson (ed. Reclining Figure with Red Stripes, 1973 Bone Form, 1969, Henry Moore: ..Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone.. In 1921 Moore won a Royal Exhibition Scholarship to study sculpture at the Royal College of Art, London. The existence of the drawing was not known at the time of Mitchinson’ s study. Working Model for Reclining Figure: Bone Skirt, 1977-1979, Henry Moore: From the `Reclining Figures’ Portfolio, a set of 6 lithographs. Six Stone Figures, 1973, Henry Moore: Pencil, charcoal, wax crayons, pen, ink & wash on paper 45.6 x 64.7 cm. £4,800 (exclusive of taxes), Henry Moore, The Complete Drawings, volume 2, page 270, number AG72-74.37, HMF 73/74 (77), Standing Cloaked Figure, 1973 He had a retrospective exhibition at the Tate Gallery, London in 1951 and 1968. Moore (1983), in Alan Wilkinson (ed. Perhaps the greatest change, as Moore moved from the 1970s into the 1980s, would be an increased sense of intimacy and domesticity. The subjects in this print are typical of Moore’s work at the time, exploring the seated figure, the family group and the mother and child theme. Four Mother and Child Studies, 1976, Henry Moore: Family Groups, 1944 ₄ Andrew Causey, ‘Henry Moore and the Uncanny’, in Henry Moore: Critical Essays (Aldershot: Ashgate Publishing Limited, 2003), p. 82–90. 41, Bone Form, 1969 The proposed context and medium required a certain solemnity, reflected, in the chosen version, by the weight of drapery around the Madonna’s knees, and the breadth of her capacious lap, as she shelters the child. 6, London, 1988, p. 51, no. William Weston purchased print from a member of staff at WS Cowell Ltd, where the trial proofs had been printed. Bronze 18.5 x 9 x 8.4 cm. By descent. Moore signed this drawing when it was separated in 1983. Yet, unlike the larger version of Helmet Head No. Pencil, wax crayon, watercolour wash, pen and ink, crayon on cream medium weight wove 27.5 x 18.8 cm. Los Angeles County Museum of Art, Henry Moore in Southern California, October 2 – November 18, 1973, no. Private Collection, London, Will Grohmann, The Art of Henry Moore, London, 1960, no. AG39.19; HMF 1460 Among Moore’ s first prints using this technique was a scarcely modified version of Three Female Figures ( c. 1950), for which only eleven proofs are known to exist.2. Such ambiguity was captured by Robert Melville’s term ‘object-presences’: figures ready at any moment to ‘break into overt and destructive action’.
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