The Exposition Universelle includes a pavilion dedicated to sculpture - displaying Auguste Rodin’s The Kiss - and a Palace of Electricity. 

After recovering from a gas attack in hospital Moore returns to fight in France shortly before peace is declared.

Starts studying sculpture at Leeds College of Art where he is the only full-time sculpture student.

Moore with his friend from Leeds School of Art, Raymond Coxon.

HMF 5 Seated Male Nude, Pencil, The Henry Moore Foundation: gift of the artist 1977.

An experimental life drawing created whilst studying at the Royal College of Art.

Discovers Ezra Pound's 1916 memoir on the sculptor Henri Gaudier-Brzeska, which became one of the most influential texts on his work.

HMF 78 Standing Nude Girl, One Arm Raised, Chalk, pen and ink, crayon, wash, the Henry Moore Foundation: gift of the artist 1977.

At this time, Moore begins to use experimental techniques whilst drawing from life; this is one of the earliest instances of his combination of pen, ink, chalk and wash.

Charles Rutherston (brother of the principal of the Royal College of Art) buys two of Moore’s carvings becoming his first patron and invites the young artist to see his extensive collection in Bradford.

First group exhibition at the Redfern Gallery, London alongside fellow students at the Royal College of Art Edward Burra, Barbara Hepworth, Percy Horton, Roland Vivian Pitchforth and Charles Tunnicliffe.

HMF 262 Two Seated Figures, Pencil,  pen and ink, Art Gallery of Ontario: gift of Henry Moore 1974.

The drawing demonstrates influences of Picasso’s neoclassical period and Cézanne’s bathers.

LH 24 Recumbent Male Figure, Mansfield stone, destroyed.

Moore’s first reclining figure and a rare representation of a male figure. 

LH 36 Head of a Woman, Cast concrete, Wakefield Art Galleries and Museums.

Moore begins creating sculpture in concrete, which at the time is largely confined to architecture.

LH 48 Head and Shoulders, Verde di Prato, current whereabouts unknown.

Described as Moore’s first masterpiece by the dealer Dr Heinz Roland.

The Whitworth Art Gallery, Manchester buys four of Moore’s drawings, the first acquisition by a public museum.

HMF 682 Reclining Figure with Child, Pen and ink, watercolour wash, The Henry Moore Foundation: gift of the artist 1977.

The five different angles and lines incorporating the central figure suggest Moore was considering how this composition would translate to a carved sculpture.

LH 65 Seated Figure, Cast concrete, The Henry Moore Foundation: gift of Irina Moore 1979.

The pose references Sumerian and Egyptian sculpture whilst the contour down the face indicates Moore’s first influences of Cubism.

The British Pavilion at the Venice Biennale exhibits Moore’s work alongside fellow British sculptors Jacob Epstein and John Skeaping and painters Augustus John, Wilson Steer and Walter Sickert.

HMF 760 Standing Female Figure, Pen and ink, crayon, watercolour wash, gouache, oil paint, The Board of Trustees of the Victoria and Albert Museum, London.

Moore’s wife Irina is pictured in the artist’s studio surrounded by his works: LH 33 Standing Woman, 1926; LH 62 Mask, 1929 and possibly LH 55 Seated Figure, 1928, which was destroyed by a bomb in the war.

Resigns from his teaching post at the Royal College of Art after a vicious press campaign against him backed by colleagues.

CGM 1 Figures, Sculptures, Woodcut, The Henry Moore Foundation.

Moore makes two woodcuts in 1931, his only works in the medium and he doesn’t explore printmaking again until 1939.

Performs as an ancient Greek torso in the staff performance at the Chelsea School of Art Christmas concert.

LH 121 Mother and Child, Green hornton stone, Robert and Lisa Sainsbury Collection, University of East Anglia, Norwich.

Moore polished the green hornton stone, which emphasised the form of the sculpture

Joins the Artists International Association, which pledges to fight fascism and imperialist war.

Exhibits and publishes a book with Unit One, co-founded with Paul Nash, Ben Nicholson and Barbara Hepworth the previous year to promote modern art, architecture and design.

LH 154a Hole and Lump, Elmwood, The Henry Moore Foundation: gift of the artist 1979.

Moore begins making abstract holes in his sculpture in 1933 after admiring his friend Barbara Hepworth’s work.

The Isokon Flats, a symbol of modernism designed by Wells Coates, opens in Hampstead, London.

Exhibits in the last 7 and 5 society exhibition at Zwemmer's Gallery.

LH 153 Two Forms, 1934 is acquired by the Museum of Modern Art, New York after being included in their major exhibition Cubism and Abstract Art.

LH 162 Reclining Figure, Elmwood, Albright-Knox Art Gallery, Buffalo: Room of Contemporary Art Fund 1939.

The first of six major reclining figures in Elmwood.

Visits Picasso's studio with André Breton, Paul Eluard, Max Ernst and Alberto Giacometti seeing Guernica in progress.

LH 182 Stringed Relief, Beechwood and string, Private collection, USA.

The first of a series of stringed sculptures inspired by mathematical models in the Science Museum and exhibiting constructivist tendencies.

Moore’s work is included in the International Exhibition of Abstract Art at the Stedelijk Museum, Amsterdam.

Moves back to London to No.7 Mall Studios, Hampstead with Irina.

LH 211 Three Points, cast iron, The Henry Moore Foundation: gift of Irina Moore 1977.

The earliest example of a series of abstract sculptures representing the tension of points almost touching.

Becomes an Official War Artist after showing his shelter drawings to his friend and chairman of the War Artists’ Advisory Committee, Kenneth Clark. Out of sympathy for the shelterers, Moore does not make any direct sketches underground, instead taking descriptive notes on the back of an envelope before returning to his studio to draw from memory.

HMF 1845 Pink and Green Sleepers, Pencil, wax crayon, coloured crayon, chalk, watercolour wash, pen and ink, The Trustees of the Tate Gallery, London: presented by the War Artists’ Advisory Committee 1946.

The greens and blues of the figures and the close composition evocatively portray the dank, crowded conditions of the underground.

Appointed to the Art Panel of the Council for the Encouragement of Music and the Arts.

The mass murder of Jewish people at Auschwitz begins.

HMF 2139 Textile Design, pencil, wax crayon, coloured crayon, crayon, watercolour, The Henry Moore Foundation: gift of the artist 1977.

Commissioned to create designs for textiles, which were fabricated into head scarves and other fashion items and soft furnishings, Moore initially created a series of 'textile design' drawings.

Constructivist artist Naum Gabo creates Linear Construction No. 1, a sculpture made from stretched nylon filament and perspex.

LH 226 Madonna and Child, Hornton stone, St. Matthew’s Church, Northampton: gift of Canon J Rowden Hussey.

Commissioned for St Matthew’s church, Northampton, this is the first piece which translates Moore’s mother and child theme to a religious subject.

Nikolaus Pevsner proclaims Moore “the greatest British sculptor now alive.”

The New Towns Act plans an ambitious programme for building 11 new towns.

HMF 2359 Studies of the Artist's Child, Pencil, Arts Council Collection, South Bank Centre, London.

Moore created a number of drawings with repeated studies of his daughter throughout her childhood.

Awarded the International Sculpture Prize at the Venice Biennale where Moore represents Britain alongside J.M.W. Turner.

LH 269 cast 1 Family Group, Bronze, The Barclay School, Stevenage.

Scaled-up from a maquette for an unrealised commission for a school in Impington, the first cast of Family Group was created for Barclay Secondary School at Stevenage, a town created under the New Towns Act.

LH 290 cast b Standing Figure, Bronze, Private collection.

Moore is overjoyed with the positioning of this piece in the wild surroundings of the Keswick Estate, Glenkiln, Scotland where it is later joined by his King and Queen and Upright Motive No. 1: Glenkiln Cross.

Moore is the subject of a BBC documentary titled Henry Moore, the first ever film on a living artist, to coincide with his commission for the Festival of Britain.

Click here to watch the film on the BBC Archive website.

Anthony Caro begins working as Moore’s assistant.

Awarded the International Sculpture Prize at the São Paulo Biennial, Brazil.

Visits Querceta at the Carrara mountains, Italy, for the dealer, Curt Valentin’s funeral visiting the Henraux marble quarry for the first time, which prompts a new working relationship.

Appointed a Member of the Order of the Companions of Honour in the Queen's Birthday Honours List, a significant accolade only awarded to 50 people at one time.

LH 377 Upright Motive No.1: Glenkiln Cross, Bronze, The Trustees of the Tate Gallery: gift of the artist 1978.

Moore created 13 upright motive maquettes and this was the first of five to be enlarged. The name comes from Sir William Keswick’s estate near Dumfries, Scotland, where the first bronze cast is for many years sited on a hillside high above the reservoir.

Touring exhibition of Moore’s work from Canada and New Zealand reaches South Africa drawing 21,500 visitors.

Unesco Reclining Figure, Roman travertine marble, Unesco, Paris.

Moore spends almost a year traveling to Italy to create this monumental work for the UNESCO headquarters in Paris, his largest work to date.

CGM 41 Thirteen Standing Figures, Lithograph, The Henry Moore Foundation.

Thirteen Standing Figures relates to Moore’s sculptural output such as Three Standing Figures from 1953 and his textile designs from the 1940s.

LH 457 Two Piece Reclining Figure No.1, Bronze, Chelsea College of Art and Design, London.

Two Piece Reclining Figure No.1 epitomises Moore’s interest in the body-as-landscape metaphor.

LH 467 Helmet Head No. 3, Bronze, The Henry Moore Foundation: gift of the artist 1977.

Created 20 years after the first helmet, the angles in this sculpture demonstrate Moore’s interests in both organic and geometric forms.

Exhibition at the Scottish National Gallery of Modern Art, Edinburgh.

Visits New York to look at the site of a possible commission at the Lincoln Center for a sculpture within a large pool; decides on a two-part reclining figure, which is unveiled in 1965.

Awarded the Order of Merit, reserved for only 24 people of outstanding distinction.

Buys a house near the Carrara marble quarries in Forte dei Marmi, Italy prompting a resurgence in carved works in marble.

LH 519 cast 1 Reclining Figure, Bronze, Lincoln Center, New York: gift of Mr and Mrs Albert List.

Visits New York to install Reclining Figure at the Lincoln Center

The Whitechapel Gallery’s New Generation Sculpture exhibition includes the work of David Annesley, Michael Bolus, Tim Scott, William Tucker and Isaac Witkin, who had all been taught by Anthony Caro.

LH 577 Large Totem Head, Bronze, The Henry Moore Foundation: acquired 1987.

The title and the form refer to Western Sudanese Dogon masks that were included in the Surrealist magazine, Minotaure that Moore contributed to in 1933 and which continued to impact on his work throughout his career.

Awarded the Erasmus Prize for achievements in subjects not covered by the Nobel Prize.

Installs a printing press in his studio at Perry Green.

Elected Honorary Fellow of the Royal Institute of British Architects.

HMF 3336 Sheep with Lambs at the Edge of a Wood, Ballpoint pen, Waddington Galleries, London.

From Moore’s sheep sketchbook.

The Henry Moore Trust is set up to allow for Moore’s estate at Perry Green to become a sculpture park after Moore’s death. Much of the land and the sculptures on it are transferred to the Trust.

The Henry Moore Centre opens at the Art Gallery of Ontario following Moore’s gift of 101 sculptures, 57 drawings and 200 prints.

The installation of Carl André’s Equivalent VIII at Tate causes controversy.

LH 714 cast 1 Mirror Knife Edge, Bronze, NGA: Gift of the Morris and Gwendolyn Cafritz Foundation.

An enlarged version of Knife Edge Two Piece reconfigured in a mirror image for the extension to the National Gallery in Washington.

Exhibitions are held at Tate, the Serpentine Gallery and City Art Gallery Bradford to celebrate Moore's eightieth birthday.

HMF 78(21) Reclining Figure: Sunset, Charcoal, watercolour, ballpoint pen, gouache, collaged drawing, The Henry Moore Foundation: acquired 1987.

This drawing reflects Moore’s desire to have his sculptures displayed outside, preferably in natural landscapes.

Eight tapestries created from Moore’s recent drawings are exhibited at the Victoria & Albert Museum, London.

LH 797 Three-Quarter Figure: Lines, Bronze, The Henry Moore Foundation: acquired 1986.

Moore first used protruding lines on sculpture created from attaching string to the model in his 1951 work Reclining Figure: Festival, he has revisited the device here to add geometric lines to an organic form creating a contrast more usually reserved for his drawings.

LH 593a Large Spindle Piece, Travertine marble, Hotel Intercontinental, Miami.

Inspired by a piece of flint in Moore’s studio, the maquette is scaled up to over three metres high with the outward points creating a dynamic energy.

HMF 82(248) Mountains and Sky, Charcoal, pastel, watercolour wash, pencil, The Henry Moore Foundation: acquired 1987.

From Moore’s ‘black period’ inspired by his coalmining drawings and two drawings he owned by Seurat.

CGM 671 Mother and Child I, Etching and aquatint in four colours, The Henry Moore Foundation: gift of the artist 1977.

One of thirty etchings from Moore’s last major graphic album and the largest of any of his print projects, the ‘Mother and Child’ album.

LH 192b Large Reclining Figure, Bronze, The Henry Moore Foundation: acquired 1986.

At nine metres long this is Moore’s largest ever sculpture; commissioned for the Overseas Banking Corporation, Singapore, a second edition is sited on a man-made mound in Moore’s estate at Perry Green. 

The Henry Moore Foundation and the British Council stage an ambitious exhibition spanning seven venues in Hong Kong.