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In celebration of the 100th anniversary of Henry Moore's birth, this book features the most important and comprehensive single group of Moore's Drawings, graphics, and sculpture. More than 300 of Moore's acclaimed works are reproduced, along with fresh insights and personal anecdotes by colleagues. 290 color illustrations.
This seventh and final volume in the complete catalog of Henry Moore's drawings is an essential key to the material contained in the other six volumes. It provides a consolidated version of all the reference apparatus contained in each of the other volumes (index, concordance and list of exhibitions), enabling the user to track down any particular drawing from any period or volume by means of its title, HMF or AG number. In addition, this volume includes a list of Addenda and Corrigenda relating to information that has come to light since this series was launched in 1994. Some 150 items are included in this section. The opportunity has also been seized to catalog about 600 previously unpublished drawings produced by Moore in the last two years of his life (1984-86) and held in the archives of the Henry Moore Foundation. About fifty of these are illustrated and give a flavor of the fine quality of the artist's output even as he approached the end of his life.
Available as a seven volume set and as individual volumes, volume seven explores the different dimensions and subject matter of Henry Moore's drawings over the period 1984 to 1986.
The 21st century has seen a surge of interest in English art of the interwar years. Women artists, such as Winifred Knights, Frances Hodgkins and Evelyn Dunbar, have come to the fore, while familiar names Paul Nash, Eric Ravilious and Stanley Spencer have reached new audiences. High-profile exhibitions have attracted recordbreaking visitor numbers and challenged received opinion. In The Real and the Romantic, Frances Spalding, one of Britains leading art historians and critics, takes a fresh and timely look at this rich period in English art. The devastation of the First World War left the art world decentred and directionless. This book is about its recovery. Spalding explores how exciting new ideas co-existed with a desire for continuity and a renewed interest in the past. We see the challenge to English artists represented by Cézanne and Picasso, and the role played by museums and galleries in this period. Women artists, writers and curators contributed to the emergence of a new avant-garde. The English landscape was revisited in modern terms. The 1930s marked a high point in the history of modernism in Britain, but the mood darkened with the prospect of a return to war. The former advance towards abstraction and internationalism was replaced by a renewed concern with history, place, memory and a sense of belonging. Native traditions were revived in modern terms but in ways that also let in the past. Surrealism further disturbed the ascetic purity of high modernism and fed into the British love of the strange. Throughout these years, the pursuit of the real was set against, and sometimes merged with, an inclination towards the romantic, as English artists sought to respond to their subjects and their times.