Henry Moore
H
ENRY MooRE,
the British sculptor whose large one-man show recently
opened at the Museum of Modern Art in New York, is generally
accepted today as one of the international leaders in his art. His exhi–
bition is the largest ever held in America for a living British artist:
fifty-eight sculptures in stone, wood, bronze, and concrete; forty-eight
drawings; and his two London air-raid shelter sketch books. After the
New York showing the same work will be exhibited at the Art Institute
of Chicago during April and May, and at the San Francisco Museum of
Fine Arts from Jun e 15 until August 15.
The follo wing talk does not pretend to be verbatim, but is composed
from several formal and informal discussions with the artist.
"Perhaps that's what makes Picasso's work often seem capricious:
a conflict between an interest in the approach illustrated by archaic art
and the art of primitive peoples, and a respect for the Mediterranean
tradition. At any rate, as I look back, I am very conscious of such a
conflict throughout my own work, particularly since I went to Italy first
in 1925 on a traveling scholarship. Before that time I had associated
Classical and Renaissance art with academism and those plaster casts I
had to copy at the Leeds School of Art and in the Royal College of Art
in London. In fact when I learned that my traveling scholarship should
be spent in Italy I at once pleaded to have it rearranged for Paris. But
nothing could be done; no financial arrangements could be made to
permit it; I had to go to Italy against my will. But thank goodness now
I did go.
"For about six months after my return I was never more miserable
in my life. Six months' exposure to the masterworks of European art
which I saw on my trip had stirred up, a violent conflict with my pre–
vious ideals. I couldn't seem to shake off the new impressions, or make
use of them without denying all I had devoutly believed in before. I
found myself helpless and unable to work. Then gradually I began
to find my way out of my quandary in the direction of my earlier inter–
ests. I came back to ancient Mexican art in the British Museum. I came
across an illustration of the 'Chacmool' discovered at Chichen ltza
in
a
German publication-and its curious reclining posture attracted me-
