art and design: February 2015

I first started casting my legs. I decided to use mod rock as it will be strong enough to hold together but also I knew I wanted to decorate the body cast after its put together. with some help from my friends we cast both front halfs of my legs and then after they dried I added wire and scrunched up news paper to help form the back of my legs so then I would cast over them.

I next started to cast my torso againg with some help from my friends. by this point I had decided that I wanted my piece to be hung on the wall a little bit so it looks like a relief but isn't one. this is from looking at my artist research with Anthony Gormley. my piece will be a mixture of messy and fun but by the way I want it to be displayed I see it as very structured and modern.

I don't want to cast my arms as I want to get the purpose of this piece as clear as I can to my viewers. without arms it shows the lack of control this person has over his body or the curse and women itself.

As im wanting it to be displayed up against a wall I wont be casting a back

Started playing with colours and glitter to choose a variety of which I think will be suitable. I want bright vibrant colours happy fun colours. My reason for this is because I've based it on the happy thoughts of which men have about women and then it all leads back to show how much of an effect she has had on this man so much that he cant control it and its taking over along with the curse.

I really like light green light blue yellows and red. these are my colours for my final piece.

Top half and bottom half almost fully made

After having nearly a full body cast I decided since its a womens body the whole idea is that hes now trapped inside then why not have a males head. so my friend Jordan volunteered for a head cast :)

After the head was finished I tried to cast both the head and my torso together which took a while but I eventually got it placed how I wanted it. it was just a little difficult because of the weight of the head.

I then began to try and make a stags snout I used wire modroc and some newspaper for this. personally Im not too pleased with it if I could go back I would probably change how I made this. I made it way too small and it sort of looks like a wolfs face.

After I had finished casting I started to think about texture and what other materials I could use.

For our college trip we all went to Liverpool, and whilst there we all went to the beach to see these sculptures, after taking a few pictures I thought about this project and pom poms came to my mind.

https://www.youtube.com/watch?v=TlE7RknaB1E

click this link to see me experimenting with colour and throwing paint.

TADA! All done

I used the colours Light green, light blue red and yellows. I wanted to splatter the paint to give a much more abstract effect and pull it away from the plain sculpture I had made. whilst the paint was still wet I decided then would be perfect timing to add my pom poms. I love them. my final piece looks playful messy abstract but also very strange.to finish it of I added gold glitter over the top which made the paint have a metal like smooth texture which I liked. I can say ive really enjoyed this project overall if I could do this again I would probably push myself to experiment more that way I could of come up with new interesting ideas.

After the war Moore received an ex-serviceman's grant to continue his education and in In 1919 Henry Moore became a student at the Leeds school of art after the war ended. The school actually set up a sculpture studio just for him.
In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of Henry Moore followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique known as "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.
In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.

Hampstead
Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission West wind (1928-1929) was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Russian–Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.

Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead on Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore

In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona

Moore and Nash were on the organising committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings

World War Two
At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post. During the war, Moore produced powerful drawings of Londoners sleeping in the London Underground while sheltering from the Blitz. Kenneth Clark, the chairman of the War Artists' Advisory Committee,WAAC, had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme. In August 1941 WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Whereas Moore drew the people in the shelters as passively waiting the all-clear he shows the miners aggressively working the coal-faces. These drawings helped to boost Moore's international reputation, particularly in America where examples were included in the WAAC Britain at War exhibition which toured North America throughout the war.
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. 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 the Church of St. Matthew, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures

After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City. From the late 1930s Kenneth Clark became an unlikely but influential champion of Moore's work,and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.
Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage. Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.
In the 1950s, Moore began to receive increasingly significant commissions, including a reclining figure for the UNESCO building in Paris in 1958. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.
On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."
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.
In 1979, Henry Moore became abruptly known in Germany when his sculpture Large Two Forms was installed in the forecourt of the German Chancellery in Bonn (which was the capital city of West Germany prior to German reunification in October 1990).
Henry Moore died on 31 August 1986, at the age of 88, in his home in Much Hadham, Hertfordshire where his body is interred in Perry Green churchyard.

Style

The aftermath of World War II, The Holocaust, and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as Jean-Paul Sartre advocated a similar reductive philosophy. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history".Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity

Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.
Earlier figures are pierced in a conventional manner, in which bent limbs separate from and re-join the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with Barbara Hepworth's sculptures. Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. The plaster Reclining Figure: Festival (1951) in the Tate, is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture. When Moore's niece asked why his sculptures had such simple titles, he replied,

Moore's early work is focused on direct carving, in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into modernism paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory sketches and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; in old age, when he had arthritis, he continued to draw.^[

After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the lost wax technique. These maquettes often began as small forms shaped by Moore's hands—a process which gives his work an organic feeling. They are from the body. At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final moulding and casting at a bronze foundry. Moore often refined the final full plaster shape and added surface marks before casting

Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. In 1953, he completed a four-part concrete screen for the Time-Life Building in New Bond Street, London, and in 1955 Moore turned to his first and only work in carved brick, "Wall Relief" at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.

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