Comparison - Henry Moore's Artwork

       Works of the 1920s 

•  About 1922 to 1930, two themes emerged 

  - Mother and Child (1924-1925, Manchester) and Reclining Figure (1929, Leeds) 

•   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.