Henry Moore quotes
All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.
Henry Moore
Recently I have been working in the country, where, carving in the open air, I find sculpture more natural than in a London studio, but it needs bigger dimensions. A large piece of stone or wood placed almost anywhere at random in a field, orchard, or garden, immediately looks right and inspiring.
Henry Moore
The disturbing quality of life goes hand in hand with the disturbing quality of our time. The temporal emphasizes the perpetual... I willingly accept what I try to bring together. In the heads of my 'King and Queen' (Moore created in 1952/53] or in the head and the body of my 'Warrior' [1953/54], some mixture of degrees of realism is implicit. But we got used to this mixture in Chartres [the famous Gothic cathedral], and we shall get used to it again. I do not suggest that I have intentionally done it... It is just that in the head part I could focus, in essence, the intention of the entire figure... By contrasting the head to the natural structure of the rest, the whole idea of the figure is pointed out – it is these contrasts which do it.
Henry Moore
In Castleford, where I was born, there are what are called sand holes. They are caves where the sand has been excavated and they run into the side of certain hillsides, quite a long distance, and you can get lost in them. Now these had a fascination for me, and as boys we would take a reel of cotton many yards long and go into the caves. But one wouldn't go further than the cotton because it was dark. You wouldn't know your way back. In those days there weren't flash lamps, so one only had a match or something, and the matches were these brimstone matches. And the caves always had this fascination for me, these holes did. Digging into something always had this fascination for me. So I think it's not so much Archipenko, because the Archipenko hole is a decorative one. I mean he makes a hole in a breast instead of a fullness, but the hole acts the same.
Henry Moore
Mexican sculpture, as soon as I found it, seemed to me true and right, perhaps because I at once hit on similarities in it with some eleventh-century carvings I had seen as a boy on Yorkshire churches. Its 'stoniness', by which I mean its truth to material, its tremendous power without loss of sensitiveness, its astonishing variety and fertility of form-invention and its approach to a full three-dimensional conception of form, makes it unsurpassed in my opinion by any other period of stone sculpture.
Henry Moore
When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.
Henry Moore
Well, it's the only picture I ever wanted to own ['Three Bathers' of Cézanne ]. It's a Cézanne and the joy of my life. I saw it about a year ago in an exhibition and I was stunned by it. I didn't sleep for two or three nights trying to decide whether to.. .To me it is marvelous. Monumental.. .It's not perfect, it's a sketch. But then I don't like absolute perfection. I believe one should make a struggle towards something one can't do rather than do the thing that comes easily. Perhaps another reason is why I fell for it is that the type of woman he portrays is the same kind as I like. Each of the figures I could turn in into a piece of sculpture, very simple. Not young girls but that wide, broad, mature woman. Matronly.
Henry Moore
When I was offered the site near the House of Lords... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park - one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it.
Henry Moore
![I have always paid great attention to natural forms, such as bones, shells, and pebbles, etc. Sometimes for several years running I have been to the same part of the seashore – but each year a new shape of pebble has caught my eye, which the year before, though it was there in hundreds, I never saw... Pebbles show Nature's way of working stone. Some of the pebbles I pick up have holes right through them... A piece of stone can have [for the sculptor] a hole through it and not be weakened – if the hole is of a studied size, shape and direction. On the principle of the arch, it can remain just as strong. (Henry Moore)](https://cdn.quotesdtb.com/img/quotes_images_webp/60/henry-moore-arch-attention-303060.webp)
The work of the sculptors of my age & somewhat older – Brancusi – Arp – Lipschitz – Laurens – Giacometti – has gradually approached a freedom & moved into space, compared with the sculptors of earlier period – Rodin – Maillol [. And] & the young sculptors of today all have the tendency to work with space – to model rather than carve – but it is very necessary in my opinion to have been able to get the refinement & completeness of a single form before going on to space form with no body.
Henry Moore
Actually Rogers Fry's Vision and Design [1920] was the most lucky discovery for me. I came on it by chance while looking for another book in the Leeds Reference Library. Fry in his essay on 'Negro Sculpture' stressed the 'three-dimensional realization' that characterized African art and its 'truth to material'. More, Fry opened the way to other books and to the realization of the British museum. That was really the beginning.
Henry Moore
..these reproductions were in Zwemmer's bookshop [in the 1920's]. I can see them now. They were black. There was one on Negro sculpture, one on Mexican sculpture, one on an Egyptian sculpture, and so on. And all these I knew. And in one of them was this small reproduction of the Chac Mool [famous Toltec-Maya sculpture]. It was the pose that struck me – this idea of a figure being on its back and turned upwards to the sky instead of lying on its side, which is a different sort of idea from the Renaissance, or Greek reclining figure, which is usually on its side. And this gave me all sorts of chances of making variations on it.
Henry Moore
The conflict between the theories of Surrealism & pure abstraction leads many to look upon one as black & bad & the other as white & good. Yet it seems to me that a good work of art has always contained both abstract & surrealist elements – just as it has both classical & romantic elements (order & surprise?).. .Surrealism is widening the field of contemporary art & is giving more freedom to the artist (& perhaps what is not unimportant, – stretching the appreciation of the public). Abstraction is re-establishing fundamental laws; bringing back form to painting & sculpture. There are many products of surrealism which I personally dislike,.. ..but equally Unimportant to me are the empty decorations produced in the name of abstraction.
Henry Moore
There is one quality I find in all the artists I admire most – men like Masaccio, Michelangelo, Rembrandt, Cézanne. I mean a disturbing element, a distortion, giving evidence of a struggle of some sort... Great Art is not Perfect. Here the disturbing element comes in. It is instructive to know that Rembrandt copied Mantegna, whose art is the extreme opposite of his own. Why did he do so? Because he was conscious that his own art lacked the classical element. He was aware of the opposite, and that makes him greater.
Henry Moore
Yet actual physical size has an emotional meaning. We relate everything to our own size, and our emotional response to size is controlled by the fact that men on the average are between five and six feet high... If practical considerations allowed me, cost of material, of transport, etc., I should like to work on large carvings more often than I do. The average in-between size does not disconnect an idea enough from prosaic everyday life. The very small or the very big [sculpture] takes on an added size emotion.
Henry Moore
As far as my own experience is concerned, I sometimes begin a drawing with no preconceived problem to solve, with only the desire to use pencil on paper, and make lines, tones, and shapes with no conscious aim; bur as my mind takes in what is so produced, a point arrives where some idea becomes conscious and crystallizes, and then a control and ordering begin to take place.
Henry Moore
I find myself lined up with the surrealists because Surrealism means freedom for the creative side of man, for surprise & discovery & life, for an opening out & widening of mans consciousness, for changing life & against conserving worn out traditions, for variety not a uniformity, for opening not closing.
Henry Moore
Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself...
Henry Moore
