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[[File:Chac Mool1.jpg|thumb|left|A [[Chac Mool]] stone statue at [[Chichen Itza]] site, [[Yucatan Peninsula]], Mexico. This reclining [[Toltec]]-[[Maya civilisation|Maya]] figure influenced Moore's sculpture.]] |
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[[File:Chac Mool1.jpg|thumb|left|A [[Chac Mool]] stone statue at [[Chichen Itza]] site, [[Yucatan Peninsula]], Mexico. This reclining [[Toltec]]-[[Maya civilisation|Maya]] figure influenced Moore's sculpture.]] |
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After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now [[Leeds College of Art]]), which set up a sculpture studio especially for him. At the college, he met [[Barbara Hepworth]], a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir [[Michael Ernest Sadler|Michael Sadler]], the University [[Vice-Chancellor]], which had a pronounced effect on his development.<ref>"[http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 Henry Moore]". [[Museum of Modern Art]], 2007. Retrieved on 16 August 2008.</ref> In 1921, Moore won a scholarship to study at the [[Royal College of Art]] in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of [[primitivism|primitive art]] and sculpture, studying the [[ethnographic]] collections at the [[Victoria and Albert Museum]] and the [[British Museum]]. |
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After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now [[Leeds College of Art]]), which set up a sculpture studio especially for him. At the college, he met [[Barbara Hepworth]], a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir [[Michael Ernest Sadler|Michael Sadler]], the University [[Vice-Chancellor]], which had a pronounced effect on his bong development.<ref>"[http://www.moma.org/collection/details.php?artist_id=4071§ion_id=T059426 Henry Moore]". [[Museum of Modern Art]], 2007. Retrieved on 16 August 2008.</ref> In 1921, Moore won a scholarship to study at the [[Royal College of Art]] in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of [[primitivism|primitive art]] and sculpture, studying the [[ethnographic]] collections at the [[Victoria and Albert Museum]] and the [[British Museum]]. |
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The student sculptures of both Moore and Hepworth followed the standard romantic [[Victorian decorative arts|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 [[Constantin Brâncuși]], [[Jacob Epstein]], [[Henri Gaudier-Brzeska]] and [[Frank Dobson (sculptor)|Frank Dobson]] led him to the method of [[Glossary of sculpting|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 [[Francis Derwent Wood|Derwent Wood]] (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble [[relief]] of [[Domenico Rosselli]]'s ''The Virgin and Child''<ref>Allemand-Cosneau, Claude; Fath, Manfred, Mitchinson, David. "Henry Moore". Nantes: Mus'ee des Beaux Arts, 1996. 63. ISBN 3-7913-1662-1</ref> by first modelling the relief in [[plaster]], then reproducing it in marble using the mechanical technique of "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. |
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The student sculptures of both Moore and Hepworth followed the standard romantic [[Victorian decorative arts|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 [[Constantin Brâncuși]], [[Jacob Epstein]], [[Henri Gaudier-Brzeska]] and [[Frank Dobson (sculptor)|Frank Dobson]] led him to the method of [[Glossary of sculpting|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 [[Francis Derwent Wood|Derwent Wood]] (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble [[relief]] of [[Domenico Rosselli]]'s ''The Virgin and Child''<ref>Allemand-Cosneau, Claude; Fath, Manfred, Mitchinson, David. "Henry Moore". Nantes: Mus'ee des Beaux Arts, 1996. 63. ISBN 3-7913-1662-1</ref> by first modelling the relief in [[plaster]], then reproducing it in marble using the mechanical technique of "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. |
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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 [[Trocadéro#The old Palais du Trocadéro|Trocadero]], a plaster cast of a [[Toltec]]-[[Maya civilisation|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.<ref>"[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 Henry Moore: Biography 1916–1925]". Henry Moore Foundation. Retrieved on 24 September 2008.</ref> |
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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 butt [[Trocadéro#The old Palais du Trocadéro|Trocadero]], a plaster cast of a [[Toltec]]-[[Maya civilisation|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.<ref>"[http://www.henry-moore-fdn.co.uk/matrix_engine/content.php?page_id=383 Henry Moore: Biography 1916–1925]". Henry Moore Foundation. Retrieved on 24 September 2008.</ref> |
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== Hampstead == |
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== Hampstead == |
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