Actually Rogers Fry's Vision and Design was the most lucky discovery for me. I came on it by chance while looking for another book in the Leeds Refer… - 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.

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.

And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles.. ..the changing became so drastic that I think he knocked the head off the sculpture.. .So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?.. .But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.