7,246 research outputs found
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Charles B. Moore Family papers, 1832-1917
No full textTranscript of a letter from J. C. Sneed and J. P. Washburn to Charles Moore and Henry Moore, discussing cotton ginning, milling, and a misappropriation of nails. Some words are omitted
Henry P. Moore Folder
No full text15 pages of family history documents containing and related to Henry P. Moore; Kate Whipple Moore; Floyd Loomis; Town of Roseberry - including: Interviewed by Annabelle Alexander, Idaho Statesman news article and an obituar
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Charles B. Moore Family papers, 1832-1917
No full textLetter from J. C. Sneed and J. P. Washburn to Charles Moore and Henry Moore, discussing cotton ginning, milling, and a misappropriation of nails. Damage has destroyed some content
Dreams of the Sleeping Beauty: Henry Moore in Polish art criticism and the media, post-1945
No full textBook synopsis: This title was first published in 2003. For more than half a century, Henry Moore has enjoyed a privileged place as a pioneer of modern British sculpture. His work is familiar in public spaces worldwide. Celebrated for reconfiguring sculptural form, and hailed as a potent avant-garde artist, Moore has now become a quintessential establishment figure. This collection of essays is the first to reconnect Moore both to his times and to the preoccupations of modern art-historical scholarship. Examining broad themes in Moore's work from the 1930s to the 1980s, the essays reposition canonical sculptures, offering readings of the diverse historical, economic and cultural conditions in which Moore's work was produced and understood
Concrete Thinking for Sculpture
No full textThis article proposes to explore the variegated plays of concrete as a travelling concept through four specific examples, viewed from the locality of the Yorkshire Sculpture Triangle in 2015. It will be argued that ‘concrete’ makes possible a triangulated reading practice in, of and for sculpture. The first example looks to the use of concrete, as a material, in some of the ‘technical’ experiments of Henry Moore, from the 1920s-1930s. The second example is the only public concrete sculpture by Barbara Hepworth on record, entitled Turning Forms. This is a kinetic work which was commissioned for the Festival of Britain in 1951. The psychic registrations of form-in-concrete will be explored through the aesthetic reception and understanding of these works. The third example examines the interplay between abstraction and concretion in a work of structural engineering: the Arqiva transmission tower on Emley Moor. This structure is a working utilitarian model of the telecommunications industry which took hold in the 1960s and 1970s. It is also a sculptural monument in a landscape of other design ‘types’. The fourth example considers the recent display of Lygia Clark’s Bichos at the Henry Moore Institute, Leeds, in 2014-2015. Bicho Pássaro do Espaço (‘Creature Passing through Space’) (1960) reveals a particular translation between concrete thinking and concrete experience. These examples call upon the semantics of the concrete as a thought process and will track a journey into a region marked by three interconnected points: the concrete specificity in the material works selected, the broader field of concrete forms within which the sculptural may sit and the philosophical/aesthetic language of concrete for sculpture
The influence of African sculpture on British art, 1910-1930
No full textThis thesis aims to discuss the influence of African wood sculpture
on British art from 1910 to 1930. It proposes that the works, tastes and
pronouncements of various 20th century British artists betray this
influence and that although the British artists did not initially
understand the conceptual foundations of African sculpture their limited
knowledge was just sufficient for the modernization of British art
through the adaptation of the formal qualities of African art.
In assessing the validity of these propositions the thesis examines
the factors and issues that facilitated the influence. Chapter 1
discusses the formal qualities of African wood sculpture that attracted
the British artists. It outlines the unusual figural proportions, the
free and direct use of planar, linear and solid geometry, the treatment
of material and its surfaces.
The conceptual foundations of African sculpture are generally
outlined in Chapter 2. The extent to which the British artists
understood these foundations is also discussed.
Chapter 3 concerns the introduction of African sculpture to Britain
and discusses the development of the anthropological and subsequent
aesthetic interest that it aroused. Both the Post-Impressionist
Exhibitions and the Omega Workshops which facilitated its influence are
examined. Chapter 4 examines the concept and attempts to categorize the
nature of this influence.
The last three chapters act as case studies in which the impact of
African sculpture on Epstein, Gaudier-Brzeska and Henry Moore is
examined. The conclusion discusses the term 'Primitive' and the British
artists and the 'Primitive
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Charles B. Moore Family papers, 1832-1917
No full textThis is a letter from the Charles B. Moore Collection. It is written by Charles B. Moore and is addressed to Sam P. Henderson. In the letter, Charles updates Sam on news from Gallatin, Tennessee and it includes: the receipt of Sam's letters and an acknowledgement of what was said about their home in the letters, details about Mary Ann's and his 'circuits' to visit family and friends in Tennessee, a dialogue about Kite, the date of return trip that has yet to be solidified, the corn haul and the approval to proceed with the gathering of this crop, approval to sow wheat before the Moore's return, a discussion about the poor weather and its affect on the second sorghum crop, details about his last 'circuit' through abundant corn and tobacco crops in Tennessee as well as updates on famine stricken counties, a dialogue to send Betty Thornhill a message about his circuit to see her kin, and a message for Henry about a gift he received for him from Tom Wright. Charles Closes his letter by telling him that Linnet will bring some souvenirs to share with her kin and family friends when they return. The envelope is included with the letter
Charles B. Moore Family papers, 1832-1917
No full textThis is a letter from the Charles B. Moore Collection. It is written by Charles B. Moore and is addressed to Sam P. Henderson. In the letter, Charles updates Sam on news from Gallatin, Tennessee and it includes: the receipt of Sam's letters and an acknowledgement of what was said about their home in the letters, details about Mary Ann's and his 'circuits' to visit family and friends in Tennessee, a dialogue about Kite, the date of return trip that has yet to be solidified, the corn haul and the approval to proceed with the gathering of this crop, approval to sow wheat before the Moore's return, a discussion about the poor weather and its affect on the second sorghum crop, details about his last 'circuit' through abundant corn and tobacco crops in Tennessee as well as updates on famine stricken counties, a dialogue to send Betty Thornhill a message about his circuit to see her kin, and a message for Henry about a gift he received for him from Tom Wright. Charles Closes his letter by telling him that Linnet will bring some souvenirs to share with her kin and family friends when they return. The envelope is included with the letter
Bodies of Evidence: Making New Histories of 20th Century British Scuplture
No full textThis thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in
Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the
complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of
the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural
history. Beginning in the recent past as I prepared to write this thesis, the commentary
moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing
Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed
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Charles B. Moore Family papers, 1832-1917
No full textEnvelope addressed to Henry S. Moore in [Trammel] P O, Sumner County, Tennessee. The sender is unknown, but "Gainesville, TX Mar 6/58" us written at the top. Portions of the envelope have been torn away
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