..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 Mexic… - Henry Moore

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..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.

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About Henry Moore

Henry Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English artist and sculptor, best known for his monumental bronzes, which combined abstract art and Surrealism, as Moore frequently declared himself. He is famous for his many large sculptures, located worldwide as public works of art.

Biography information from Wikiquote

Also Known As

Alternative Names: Henry Spencer Moore Henari Mure Henri Mur Henri Mor Henry II Moore Heng-li Mo-erh Henry Moore II

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Additional quotes by Henry Moore

I prefer Mexican to Mayan sculpture. Mexican stone sculptures have largeness of scale & a grim, sublime, austerity, a real stoniness. They were the true sculptors in sympathy with their material & their sculpture has some of the character of mountains, of boulders, rocks & sea worn pebbles.

No, I think Abstract art is valuable. It teaches people the language of painting. In my own work I have produced carvings which perhaps might see to most people purely abstract. This means that in those works I have been mainly concerned to try to solve problems of design and composition. But these carvings have not really satisfied me because I have not had the same sort of grip or hold over them that I have as soon as a thing takes on a kind of organic idea. And in almost all my carvings there has been an organic idea in my mind. I think of it as having a head, body, limbs..

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I myself in my work tend to humanize everything, to relate mountains to people, tree trunks to the human body, pebbles to heads & figures, etc.. .To cut out & make a taboo any organic representational element or human reference & then say the artist has gained freedom, seems as silly as locking yourself up in a small cell & saying 'now I know where I am – this is freedom – freedom from the outside world' [critic on the idea of pure Abstract art by Moore]

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