Henry Moore Quotes

I was in the trenches in the last war [1914 – 1918], & so all the more don’t want to shoot or be shot at, again.. .Although no one can say there’s democracy in England in the real sense of the word, & although British Imperialism has a pretty bloody record, I hate Fascism & Nazism & all its aims & ideology so intensively, that I don’t think I could refuse to help in trying to prevent it from being victorious. However, when the time comes that I’m asked, or have got to do something in this war, I hope it will be something less destructive than taking part in the actual fighting and killing.

This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head - he thinks of it, whatsoever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complete form..

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.

There's no retirement for an artist, it's your way of living so there's no end to it.

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.

I think in terms of the day's resolutions, not the years

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…

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.

I was a Yorkshire miner's son, the youngest of seven, and my mother was no longer so very young. She suffered from bad rheumatism in the back and would often say to me in winter, when I came home from school: 'Henry, boy, come and rub my back.' Then I would massage her back with liniment. When I came to model this figure [for his sculpture 'Seated Woman', 1957] which represents a fully mature woman, I found that I was unconsciously giving to its back the long-forgotten shape of the one that I had so often rubbed as a boy. Not just her shoulder but her whole back down from the shoulder blades with the skin close to the bone, to the fleshy lower parts. I had a strong sense of contrast between bone and flesh. I was seven or eight at the time [c. 1906].

My work may be balanced on the second side [the Romantic tendency].. ..- but I believe it has some elements of order & unity, some design, even balance & abstract qualities, some tenseness. When its all classical, its too obvious & cold & deadly perfect - when its all romantic, its too loose uncontrolled wildly chaotic & shapeless – But in my opinion – Gothic sculpture – Mexican, all primitive sculpture, Shakespeare, Beethoven, Tintoretto, El Greco, Rubens, Michelangelo, Masaccio, are all more romantic than classic [Moore is reacting here on Stanley Casson's critic in 'The Listener' 25 Aug. 1937

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.

Yes. There was a period when I tried to avoid looking at Greek – and Renaissance – sculpture of any kind; when I thought that the Greek and Renaissance were the enemy and that one had to throw all that over and start again from the beginning of primitive art. It's only in the last ten or fifteen years that I've begun to know how wonderful the elgin Marbles are.

in Monitor: An Anthology, ed. Huw Wheldon, MacDonald, London 1962, pp. 21-22

The Negroes.. ..their unique claim for admiration is their power to produce form completely in the round.. .Negro sculpture is completely in the round, fully-conceived air-surrounded form.

Yes, Wordsworth often personified objects in nature and gave them the human aspect, and personally I have done rather the reverse process in sculpture. I’ve often found that by taking formal ideas from landscape, and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the same effect as a metaphor in painting.