Henry moore

S H R I Y A P A R E K H1 0 . 1

HENRY MOORE

BIOGRAPHY

carreer

When you write about the victorian style add an image to explain

What is primitivism and did you see the works of the artist he got influenced by

MOTHER & CHILD: BLOCK SEAT

• There is a psychological connection between the figures, the mother's head tilted towards the infant in her arms implying an intimate gaze.

• The division of the solid mass into two forms is another enduring aspect of Moore's work — he explores the importance of space, as each form relates to the other, suggesting protection, confinement and closeness.

Intimate gaze shared by mother and child

What you think, how did you react when you saw this work does seeing a nude image make you react differently.

RECLINING FIGURE: ARCH LEG

• Moore, was intrigued by the relationship of two separate figures, and explored it quite often. • In many of his

sculptures, he tries to explore the negative space in them, and here it plays a significant role between the body and the “arched leg”.

Body “arched” leg

Negative space

What's your personal opinion about the work

DRAPED RECLINING MOTHER AND BABY

Mother

Baby

• Again, Moore explores the 3 most predominant themes: Mother and child, reclining figure and internal/external forms. • The size of the mother is rather large, and the

baby seems to be miniscule. Here, Moore is trying to send across a message that the mother is always there to comfort, closeness and most important- protection/security.

LARGE UPRIGHT INTERNAL/EXTERNAL FORM

• “Now armor is an outside shell like the shell of a snail which is there to protect the more vulnerable forms inside, as it is in human armor which is hard and put on to protect the soft body. This has led sometimes to the idea of the Mother and Child where the outer form, the mother, is protecting the inner form, the child, like a mother does protect her child” – Henry Moore

GOSLAR WARRIOR

• Moore rarely studied the male form, and there are only six life-size male figures amongst his body of work, three of which are warriors. These are not combatants in the traditional sense; none have weapons. This warrior, with his twisted, thin, fallen body, has only one limb, rendering him powerless. • His visage has the angular suggestion of a

helmet, yet ears are clearly visible, underlining his vulnerability and humanity.