Relevant bibliographies by topics / Henry Moore Sculpture Centre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Henry Moore Sculpture Centre'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Henry Moore Sculpture Centre"

1

Coombes, Rebecca. "Art libraries in a city: present and possible cooperation in leeds." Art Libraries Journal 18, no. 3 (1993): 32–37. http://dx.doi.org/10.1017/s0307472200008439.

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In addition to an art library which is part of the public library service, the city of Leeds, in the north of England, is the home of two universities and an art college, and of the Henry Moore Centre for the Study of Sculpture, in each of which significant art library collections can be found. Each library has cooperative links, if only of a limited nature, with one of the other five, but cooperation involving all five libraries is lacking. As a first step, regular meetings are suggested; other possible developments might include an information booklet, a periodicals union list, a Conspectus
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Pucci, Lara. "Henry Moore Foundation–BSR Fellowship in Sculpture: Fascist fountains." Papers of the British School at Rome 86 (October 2018): 351–52. http://dx.doi.org/10.1017/s0068246218000260.

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Gao, Zhipeng, and Imelda Hermilinda Abas. "The Semiotics and Deconstruction of the Body." Journal of Ecohumanism 3, no. 6 (2024): 1861–71. http://dx.doi.org/10.62754/joe.v3i6.4142.

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This paper explores the evolution of body symbolism in sculpture art since the 20th century, combining Saussure's semiotics and deconstruction theory to analyze the symbolic meanings of body imagery across different historical periods and cultural contexts. The study first reviews the representation and cultural significance of body symbols in ancient Greek and Roman, Renaissance, and Chinese ancient sculpture. It then reveals the processes of deconstruction and reconstruction of the body in modernist and postmodernist sculpture, examining the representative works of artists such as Henry Moor
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Casini, Giovanni. "Henry Moore, Michael Ayrton and Giovanni Pisano: the reception of medieval sculpture." Sculpture Journal 23, no. 3 (2014): 379–92. http://dx.doi.org/10.3828/sj.2015.9.

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Barker, Simon. "Henry Moore Foundation–BSR Fellowship in Sculpture: Discovering the statue within the sculpture: the art of re-carving spoliated sculpture." Papers of the British School at Rome 85 (October 2017): 340–41. http://dx.doi.org/10.1017/s0068246217000150.

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Wood, Jon, and Bruce McLean. "Fallen warriors and a sculpture in my soup: Bruce McLean on Henry Moore." Sculpture Journal 17, no. 2 (2008): 116–24. http://dx.doi.org/10.3828/sj.17.2.10.

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Binkowski, Kraig. "A biographical dictionary of sculptors in Britain, 1660-1851, Ingrid Roscoe, Emma Hardy and M. G. Sullivan, London and New York: Yale University Press for the Paul Mellon Centre for Studies in British Art and The Henry Moore Foundation, 2009. 1620 p.: ISBN 9780300149655. £80.00/$200.00 (hardcover)." Art Libraries Journal 35, no. 2 (2010): 46–48. http://dx.doi.org/10.1017/s0307472200016412.

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खत्री Khatri, ओम Om. "हेनरी मुरको मूर्ति रचना “राजा र रानी” : एक विमर्श [Henry Moore's sculpture "King and Queen": An Exchange]". SIRJANĀ – A Journal on Arts and Art Education 5, № 1 (2021): 126–33. http://dx.doi.org/10.3126/sirjana.v5i1.39860.

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बिसौं शताब्दीका विश्वविख्यात मूर्तिकार हेनरी मुर (Henry Moore) को आदिमतापरक मूर्ति रचना ‘राजा र रानी’ (King and Queen) विशिष्ट शैली र अनुभूतिजन्य प्रभावका लागि प्रसिद्ध रहेको छ । यस मूर्तिमा ‘आदिमवाद’अर्थात् ‘प्रिमिटिभिज्म’ (Primitivism) को धारलाई पछ्याएको छ । मूर्तिमा चैतन्य र अबोधपनलाई कुशलतापूरबक संयोजन गरिनुलाई कलाकारको मौलिकता र वैशिष्ट्य मान्न सकिन्छ । यो मूर्ति रचनाको आदिमतापरक (archetypal) पक्षका सम्बन्धमा अनेकौ विज्ञहरूका लेख रचनाहरू प्रकाशित छन् । यस मूर्तिका अनेकौअनुकृतिहरू विश्वभरि कैयौ सङ्ग्रहालयहरूको आकर्षणका रूपमा रहेका छन् । यस कृतिका सम्बन्धमा विभिन्नथरी अनुमान एवम् चर्चा परिच
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Rudd, Natalie. "Researching women in sculpture: a discussion event at the Henry Moore Institute, 4 May 2022." Sculpture Journal 32, no. 1 (2023): 113–32. http://dx.doi.org/10.3828/sj.2023.32.1.08.

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Mohite, Ragini. "Henry Moore’s Narayana and Bhataryan: theatre of sacrifice." Sculpture Journal: Volume 30, Issue 3 30, no. 3 (2021): 323–43. http://dx.doi.org/10.3828/sj.2021.30.3.5.

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Henry Moore’s unpublished play Narayana and Bhataryan (c. 1919) was first performed in 1920 at Castleford Secondary School. Moore wrote, performed in and designed the programme for this play. Despite timely theatrical returns to Moore’s only surviving literary creation, this play has not yet been the subject of in-depth critical study. Using archival research, this article engages with the play’s early indication of Moore’s sculptural tendencies. It traces the play’s parallels with another play produced in the early twentieth century: Rabindranath Tagore’s Sacrifice. Doing so highlights the cr
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Dissertations / Theses on the topic "Henry Moore Sculpture Centre"

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Gilles, Maryvonne. "Henry Moore, une traversée du siècle." Paris 10, 2003. http://www.theses.fr/2003PA100019.

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Henry Moore domine l'histoire de la sculpture anglaise au XXe siècle. Ce travail s'attache à mettre en évidence les conditions qui furent à l'origine de cette réussite exceptionnelle. Héritier des avant-gardes du début du siècle, Moore participa dans les années trente à l'aventure de l'art moderne, puis s'imposa pendant la Seconde guerre mondiale et la période de la reconstruction comme le représentant d'un modernisme modéré. Devenu artiste officiel, il renouvela la statuaire publique à travers la synthèse des influences primitives et du classicisme grec. Tandis que la guerre froide divisait l
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Burstow, Robert. "Modern public sculpture in 'New Britain', 1945-1953." Thesis, University of Leeds, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369070.

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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not w
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Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history." Phd thesis, 2009. http://hdl.handle.net/1885/7452.

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The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in res
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Books on the topic "Henry Moore Sculpture Centre"

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Henry, Moore. Henry Moore: Complete sculpture. Lund Humphries, 1988.

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Henry, Moore. Henry Moore: Complete sculpture. Lund Humphries, 1988.

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Henry, Moore. Henry Moore: Complete sculpture. 3rd ed. Lund Humphries, 1986.

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Moore, Henry. Henry Moore. Ebury, 1986.

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Henry, Moore. Henry Moore. Fabbri, 1987.

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Henry, Moore. Henry Moore. Ebury Press, 1986.

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Henry, Moore. Henry Moore. Ruhrfestspiele Recklinghausen, 1999.

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John, Hedgecoe, and Webber Suzanne, eds. Henry Moore. Chronicle Books, 1986.

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9

Lluïsa, Borràs Maria, Bennet Anita Feldman, Treves Toby, and Fundació "La Caixa", eds. Henry Moore. Fundació "La Caixa", 2006.

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Henry, Moore. Henry Moore: Sculpture and drawings. 2nd ed. Lund Humphries, 1986.

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Book chapters on the topic "Henry Moore Sculpture Centre"

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"HENRY MOORE." In Modern Sculpture. University of California Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr8v47.19.

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"Good Public Relations: Sculpture and Business." In Henry Moore in America. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755603800.ch-009.

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"Displaying Civic Virtues: Sculpture and the City." In Henry Moore in America. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755603800.ch-007.

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"Sculpture for the People: the Symbolism of City Parks." In Henry Moore in America. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755603800.ch-008.

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Costin, Jane. "Sculpture." In The Edinburgh Companion to D. H. Lawrence and the Arts. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0023.

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A brief history of declining interest in sculpture helps this chapter to contextualise why Joseph Epstein, Eric Gill and Henri Gaudier-Brzeska believed the only way forward for this art lay in a return to the ancient skill of direct-carving. Discussion of these sculptors’ relationship to direct-carving is related to Lawrence’s parallel ambition to ‘break down the boundaries between verbal and visual expression’ as evidenced by The Rainbow. Reviewing the sculptural efforts of Lawrence’s close friend, Mark Gertler, suggests how they impacted on Women in Love, through Lawrence’s depiction of the
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Renfrew, Colin. "Sculpture as Landscape: Archaeology and the Englishness of Henry Moore." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0027.

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The interplay in English thought between archaeology and landscape has been a long-standing one. Even before the notion of ‘landscape’ was well defined as an artistic genre, antiquaries like John Leland became topographers, and topographers such as William Camden became antiquaries. Stuart Piggott was one of the twentieth century archaeologists acutely aware of these links, well analysed in his Ruins in a Landscape (1976), and Barry Cunliffe has certainly been another. Like Piggott, he is a graphic artist of distinction himself, often preferring to draw his own plans and sections for his final
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Stamy, Cynthia. "Precision, Perspective, and the Harnessing of Silence." In Marianne Moore and China. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0006.

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Abstract Marianne Moore, like William Carlos Williams and Henry James, wanted in her youth to become a painter. Her poems display a penetrating and attentive visual sense augmented by a sensitivity to colour and the proximal relations and interactions of the various subjects in her compositions. Painterly verbiage appears repeatedly throughout her poetry and prose, with particular references alluding to matters of style and execution in Chinese art and art generally. Books on oriental rugs and carpets, Chinese bronzes, Chinese theories of art, museum bulletins on Chinese stele and prints, as w
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Chotpradit, Thanavi. "Yimsiri, Khien (1922–1971)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2073-1.

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Khien Yimsiri was a pioneer of modern Thai sculpture and an influential teacher of sculpture at Silpakorn University, Bangkok. Born in Bangkok, he graduated from Rongrian Praneetsilapakam (School of Fine Arts, now Silpakorn University) in 1941. In his early career, he won prestigious awards at the National Exhibition of Art and received scholarships to study abroad. In 1949, Yimsiri studied under the guidance of Henry Moore at Chelsea College of Art and Design in London. He was also exposed to European modern art during his scholarship at the Academy of Fine Arts of Rome from 1953 to 1954. The
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Kennedy, Róisín. "Promotion." In Art and the Nation State. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622355.003.0004.

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This chapter focuses on two major art controversies of the 1950s – the rejection by the Dublin Municipal Gallery of Modern Art of the painting, A Family, by the young London based artist, Louis le Brocquy and of Reclining Figure II, by the renowned British sculptor, Henry Moore. These disputes were central to the wider debate about the relevance of modern art to Ireland amid the post-war emphasis on the promotion of eminent modern artists or ‘art stars’. After the establishment of the Republic in 1949, the setting up of the Cultural Relations Committee (1948) and the Arts Council of Ireland (1
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Conference papers on the topic "Henry Moore Sculpture Centre"

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Котломанов, А. О. "TECHNOLOGIES OF METAMODERNISM: PROJECTIONS OF THE THEORETICAL ASPECTS. HENRY MOORE’S “IDEAS FOR SCULPTURE” – BETWEEN ART AND DESIGN." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.06.

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В контексте антиномии искусства и дизайна представляется уместным критически взглянуть на художественное наследие XX столетия с позиции метамодернистского подхода (в буквальном смысле этого понятия). Таким образом, наследие модернизма, его практики и теоретические позиции будут переосмыслены относительно, с одной стороны, традиции, с другой стороны — терминологии прикладного искусства и дизайна. В этом отношении ярким примером синтеза искусства и дизайна представляются рисунки выдающегося британского скульптора Генри Мура, известные как «идеи для скульптуры». In the context of the antinomy of
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Zorić, Vojkan, and Vesna Petrović. "DETERMINATION OF FORGERY PAINTINGS IN THE WATERCOLOR TECHNIQUE - CASE STUDY." In SECURITY HORIZONS. Faculty of Security- Skopje, 2022. http://dx.doi.org/10.20544/icp.3.7.22.p03.

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Taking into account the previously published material on the work with dubious paintings made with oil on canvas technique, the paper presents a way to determine the originality of an artistic painting made with the watercolor technique. Determining the authenticity of a work of art is a very complex process, especially with the watercolor technique, due to the small amount of paint, as well as the non-existence of the canvas in the base. In the absence of a certificate of authenticity or description in museum inventory or catalogs, art historians cannot determine the originality of a suspicio
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