Today, the Henry Moore Foundation manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with 70 acres (28ha) of sculpture grounds as well as his restored house and studios. It also runs the Henry Moore Institute in Leeds which organises exhibitions and research activities in international sculpture. Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including at Kew Gardens in 2007, Tate Britain in 2010, and Hatfield House in 2011. The foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme. [73] Collections [ edit ] Three Way Piece No. 2 (The Archer), (1964–65) has been on display in front of Toronto City Hall in Nathan Phillips Square since 1966. England [ edit ] After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. [33] This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from St Matthew's Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures. [34] Later years [ edit ] Family Group (1950) bronze, Barclay School, Stevenage, Hertfordshire. Moore's first large-scale commission after the Second World War. Shahbanu Farah in Henry Moore's Gallery, Tehran, May 1971. The maquette was enlarged to a 142 centimetres (56in) plaster working model in 1971, [6] which was then cast in bronze in an edition of 7+1 (seven casts plus an artist's copy). The plaster model is Perry Green, and examples of the bronze casts are at the Fine Arts Museums of San Francisco [7] and the Hakone Open-Air Museum. [8]

Andrew Causey, ‘Henry Moore and the Uncanny’, in Henry Moore: Critical Essays (Aldershot: Ashgate Publishing Limited, 2003), p. 82–90. The work was enlarged again in 1971-72 to create a full size bronze on a monumental scale, 570 centimetres (220in) high, in edition of 3+1. A cast was loaned for the public exhibition in Battersea Park for Elizabeth II's Silver Jubilee in 1977, and a cast was included in an exhibition organised by the Musée de l'Orangerie in Paris, and displayed in the Tuileries the same year. This work is registered in the Henry Moore Foundation archives as HMF 2515 and research file number 2020.38. Moore was requested to be an authorized War Artist before the start of WWII, but he was rejected because he felt his style wasn’t appropriate for the role. Nonetheless, he and his spouse were required to find safety on the platforms of Belsize Park underground station after a severe air assault while returning from supper with colleagues one night during the war, and he was startled by what he saw.“It was like a massive city at the earth’s core. When I first saw it, I noticed hundreds of figurines strung all along the platform.” The encounter with the bold forms of non-Western art liberated the young artist from the constraints of the neoclassical tradition. His sculpture from the 1920s was, for the most part, intimately scaled work created in response to the sensuous colors and textures of wood and stone. He favored native British materials, such as Hornton stone and English elm, over traditional Italian marbles. During a visit to Paris in 1923 he saw the work of contemporary sculptors, including Constantin Brancusi, whose radical reduction of the human figure and understanding of sculpture in the round defined the path of his art. At home in London, Moore was most deeply affected by the works of the French expatriate Henri Gaudier-Brzeska and by the American sculptor Jacob Epstein, who fostered the young man's penchant for tribal art and bold formal expression.We’re learning the whole time’ … Clare Lilley, director of YSP. Photograph: Christopher Thomond/The Guardian As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from death duties. By 1977, he was paying close to a million pounds a year in income tax; to mitigate his tax burden, he established the Henry Moore Foundation as a registered charity with Irina and Mary as trustees. The Foundation was established to encourage the public appreciation of the visual arts and especially the works of Moore. It now runs his house and estate at Perry Green, with a gallery, sculpture park and studios. [49] Vogel, Carol (5 November 2012). "British Art World Figures Protest Possible Sale of a Henry Moore". ArtsBeat . Retrieved 7 January 2023. Lithograph 260 x 194 (10 1/4 x 7 5/8) on Rives paper 510 x 378 ( 20 1/8 x 14 7/8); printed by Curwen Prints Inscribed ‘Moore' below image b.r. and ‘II/X' below image b.l.

All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know. [53] Shifting his energies away from the direct carving that had been the hallmark of his earlier style, Moore began to work increasingly in bronze. This durable material, ideally suited for outdoor sculpture, withstood his experiments with hollows and voids. Large outdoor bronze works, such as the 1971-1972 Sheep Piece in Much Hadham, bespeak Moore's ability to produce powerful work in any medium. Moore had now been firmly established as the sculptor for works in public places. Feldman, Anita; Pinet, Hélène; Moore, Mary; Blanchetière, François (2013). Moore Rodin. Perry Green: The Henry Moore Foundation. ISBN 978-0-906909-31-7.Henry Moore, Sculpture of the 20th Century, exh. cat. Dallas Museum of Art, 2001, illustrated in photographs pp.67, 213

mother figure holding the child in various positions. Each group is three-dimensional, indicating that Moore conceived of the figure group as a sculpture from the beginning. In 1924, he spent six months touring France and Italy, where he was influenced by the works of Masaccio, Giotto, and Michelangelo. London, Marlborough Fine Arts, Art in Britain 1930-1940 centred around Axis Circle Unit One, March-April 1965, no 83 (illustrated in the catalogue) Feldman, Anita; Woodward, Malcolm (2011). Henry Moore Plasters. London: Royal Academy of Arts. ISBN 978-1-907533-11-2. Moore, in Moore: Head-Helmet: An Exhibition to Celebrate the 150 th Anniversary of the Foundation of the University of Durham (Durham: DLI Museum and Arts Centre, 1982), p. 1Insight at end of the Tunnel". Tate. Archived from the original on 9 April 2009 . Retrieved 16 August 2008.

Moore began this sketchbook in February 1972 when the preparations for his retrospective exhibition at Forte di Belvedere, Florence, confined him to a small studio which happened to overlook a field of grazing sheep. The last five studies of shorn sheep HMF 3362-3366 were made on his return from Italy in May that year. Moore’s initial figure in brown Hornton stone was greatly inspired by an Aztec artwork, the Chacmool character, which he saw a cast of in a Paris museum. Moore considered the Chacmool figure to be the most influential piece in his early career because of its “stillness and attentiveness, a sense of preparedness – and the full presence of it, with the legs falling down like columns.”

Reclining Figure (1982) by Henry Moore, located in the Kunst in Schwäbisch Hall; Chandravathanaa, CC BY-SA 4.0, via Wikimedia Commons During this time, he co-founded the Seven and Five Society with Hepworth, her business partner Ben Nicholson, and several other abstract modernists. They went to Paris regularly to see works by Braque, Picasso, and Giacometti. Moore decided to abandon his relatively short involvement in Surrealism after his involvement as an event planner of the “London International Surrealist Art show” in 1936 and decided to return to his Modernist representational work in 1937. Moore started sculpting in wood and clay, influenced by Michelangelo, at his institution in Castleford, where a few of his relatives had studied and where he had received a scholarship.