Carving techniques and his use of varied
materials such as concrete, alabaster, Hornton stone, verde di Prado, and
ebony.
Works of the Early 1930s
Moore
became less dependent on non-Western sources in the early 1930s
Between 1930 and 1933 : RecliningWoman (1930, Ottawa);
The
African wonderstone Composition
(1932, collection of Mrs. Irina Moore).
Two works reflect : The standing ironstone Two Forms (1934,
collection of R. H. M. Ody),
The wood Two Forms (1934, New York).
Works of the Late 1930s and the War
By the mid-1930s
Reclining
Figure Fourpieces (1934, collection of
Mrs. Martha Jackson).
The elm-wood Reclining Figure (1935-1936,
Buffalo) and its counterpart (1936, Wakefield City) reveal a new sensitivity
to, even exploitation of, the material.
the lead Reclining Figure (1938, New York)
and Recumbent Figure (1938, London).
the interior-exterior image found in The Helmet
(1939-1940, collection of Roland Penrose) and
the abstract pieces with stretched string or wire,
a technique borrowed from mathematical models.
At the outbreak of World War II Moore as Official War Artist entered his
most realistic phase, seen in the exceptional set of drawings known as the
Shelter Drawings.
Postwar Works
After 1946, Moore moved
in a variety of directions.
He returned to the reclining figure motif,
continually altering the image.
The Reclining Figure for UNESCO in
Paris (1957-1958).
is ingeniously displayed on a tilted platform.
worked out in a series of two-piece figures begun in 1959 :
Two-piece Reclining Figure No. 4 (1962, Amsterdam).
Three-piece Reclining Figure No. 2 Bridge
Prop (1963, Leeds).
Translated into the Family Group
(1946, Washington).
Assuming a more impressive scale and vertical orientation, as in the
elm-wood Internal External Forms (1953-1954,
Buffalo).
The Time Life Screen (1952-1953) of the
Time Life Building, London.
