Henry Moore 1898-1986
16.5 x 20.3 x 8.5 cm
Moore’s stringed sculptures, including Bird Basket, 1939 (The Henry Moore Foundation), The Bride, 1939–40 (Museum of Modern Art, New York) and Stringed Figure, 1939 (Hiroshima Prefectural Art Museum, Japan), combined wood, lead or bronze with string or wire to create dramatic internal spaces simultaneously enclosed and revealed, the strings imparting ‘a metaphorical as well as an actual tension’ (C. Stephens, Henry Moore, exh cat, Tate Publishing, London, 2010, p. 127). The organic, curvilinear figure in the present work provides a dynamic contrast to the geometric shapes created by the taut string, revealing Moore’s fascination with the interplay between interior and exterior forms. The first version of Stringed Figure, 1939 was made in lead and wire (private collection, New York) and appears in a drawing of Ideas for Sculpture in Metal and Wire, 1939 (private collection).
The use of red string in this work corresponds with an earlier drawing of sculptural forms which display interiors of the same colour. Dated two years before the sculpture was made, Five Figures in a Setting, 1937 (Henry Moore Family Collection) depicts a preliminary design for Stringed Figure in the second form from the left. The figures are arranged in a line against a somewhat sinister stage-set marked with geometric forms, further demonstrating the seemingly paradoxical blend of abstraction and surrealism in the artist’s work. Moore exhibited at (and helped to organise) the International Surrealist Exhibition at New Burlington Galleries in 1936 and the following year railed against the unnecessary ‘violent quarrel between the abstractionists and the surrealists…All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part’ (the artist cited in D Sylvester (ed.), Henry Moore, Complete Sculpture 1921–48, vol. 1, Lund Humphries, London, 1990, p. xxxv).
[1] Christa Lichtenstern proposed that Moore may also have been aware of Man Ray’s photographs of mathematical models published in Cahiers d’Art, vol.11, no.s 1–2, 1936, pp. 7–9, 11–20, C. Lichtenstern, Henry Moore: Work, Theory, Reception, London, 2008, p. 90, cited in C. Stephens (ed.), Henry Moore, exh cat, Tate Publishing, London, 2010, p. 231.
Provenance
J.B.Taylor, circa 1968, purchased directly from the artistthence by descent
Exhibitions
New York, Museum of Modern Art, Henry Moore, 18 December 1946-16 March 1947, cat no.46, lead and copper wire version illus b/w p58, touring to:
Chicago, Art Institute of Chicago, 17 April-18 May 1947
San Francisco, Museum of Art, 9 July-6 August 1947
London, Tate Gallery, Henry Moore, Arts Council, 17 July-22 September 1968, p105, cat no.50, another cast illus b/w pl.93
Basel, Galerie Beyeler, Henry Moore, Sculptures, May-June1970, cat no.1, another cast illus b/w
London, Lefevre Gallery, Small Bronzes and Drawings by Henry Moore, 30 November-23 December 1972, p12, cat no.3, another cast illus b/w
Florence, Forte di Belvedere, Henry Moore, 20 May-30 September 1972, cat no.45, p131, another cast illus b/w
Tokyo, Metropolitan Art Museum, Henry Moore, Sculptures, Drawings and Graphics, 11 April-5 June 1986, cat no.154, another cast illus b/w p117, touring to:
Fukuoka, Art Museum, 21 June-27 July 1986
London, Tate Gallery, Henry Moore, 24 February-8 August 2010, cat no.72, plaster and string version illus colour p148
Literature
William Grohmann, The Art of Henry Moore, London, 1960, p. 7, no. 78 (lead and wire version illustrated).Robert Melville, Henry Moore, Sculpture and Drawing, 1921-1969, London, 1970, p. 346, no. 204 (lead and wire version illustrated).
David Mitchinson (ed.), Henry Moore, Sculpture, London, 1981, p. 310, no. 128 (another cast illus colour, p 76)
David Sylvester (ed.), Henry Moore, Complete Sculpture, 1921-1948, London, 1988, Volume 1 , p. 12, no. 207 (lead and wire version illustrated, p. 133)