© The Henry Moore Foundation 2013 – http://www.henry-moore.org/
The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part. And I think the first inception of a painting or a sculpture may begin from either end.
‘The sculptor speaks’ (1937), Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 254-255 with translation by Daphne Woodward [Retrieved from Wikiquote
The interior of the Yellow Brick Studio c. 1960. Courtesy Kew Royal Botanic Gardens
Moore working on maquette for Three Way Piece No. 2: (The) Archer 1964-65; Armature for Working Model for Spindle Piece 1968-69. Courtesy Kew Royal Botanic Gardens
Reclining Woman 1927. Cast concrete, length 63.5 cm. Henry Moore Family Collection/Hauser and Wirth
“HENRY MOORE: Late Large Forms” (Installation view), Gagosian Gallery. Photo by Rob McKeever, Reproduced by permission of The Henry Moore Foundation
Installation view of ‘Polychromies: Surface, Light and Colour’. Courtesy of Leeds Museums and Galleries / Photo: Karen Atkinson.