Annual Bulletin 1, 1977-1978

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Henry Moore's Reclining Woman

by Alan G. Wilkinson

Pages 1 | 2 | 3 | 4 | 5 | 6

Notes

20 Dean Sylvester, Henry Moore (exhibition catalogue) (London: Arts Council of Great Britain, 1968), p. 156. For an exhibition at the Tate Gallery.

21 The artist, in conversation with the author.

22 The painting is now in the Philadelphia Museum of Art.

23 In 1961, in conversation with John and Vera Russell, Moore said: In my first year at college [the Royal College of Art] Raymond Coxon and I thought we'd like to see some original Cézannes, and so we asked if we could go to Paris for Whitsun week" (quoted in James, op cit., p. 190).

24 During the 1920s Moore did many carvings during the holidays, particularly in the summer months. It is a mistake to assume that a sculpture based on a notebook drawing was necessarily executed within a few months or even in the same year as the preparatory sketch. Ideas for sculpture were generated in the notebook drawings and often stored for future use.

25 John Russell, Henry Moore (London: 1968), p. 28.

26 John Hedgecoe, ed. and photographs, Henry Moore (London: 1968), words by the artist.

27 The artist told the author that he thinks he did a relief of a reclining figure on the back of a garden bench, If so, the carving has been lost or destroyed.

28 Sylvester, op. cit., p. 6.

29 The artist, in conversation with the author. Quoted in Alan G. Wilkinson, "The Drawings of Henry Moore," unpublished Ph. D. thesis, Courtauld Institute of Art, University of London, July 1974, p. 264.

30 James, op cit., p. 69.

31 These comments were made by the artist in conversation with the author in November 1976.

32 The artist, in conversation with the author.

33 Ezra Pound, Gaudier-Brzeska (London, 1916), p. 9. Another sculptor who associated the female reclining figure with mountains was Gaston Lachaise. Hilton Kramer has remarked: "Lachaise created numerous reclining 'Mountain' figures in varying sizes in stone and bronze - the first in 1913, the last and largest at the end of his life in 1934." Hilton Kramer, The Sculpture of Gaston Lachaise (New York: 1967), note beneath pl. 30, The Mountain, 1924.

34 James op cit., p. 58.

35 The artist told the author in November 1976 that he discussed the Ottawa carving with Wilenski before the publication of the book, and suggested the title Mountains.

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