Musée Rodin Moore exhibition in Paris
Exhibition
14th October 2010 - 15th February 2011
Musée Rodin
Paris
Looking through the aperture of Locking Piece 1963-64 (LH 515)installed at the Hôtel Biron, home to the Musée Rodin
Wall Relief: Maquette No.5 1955
LH 369
plaster
The Henry Moore Foundation: gift of the artist 1977
photo: Michael Phipps
Working Model for Divided Oval: Butterfly
1982
LH 571a
plaster
The Henry Moore Foundation
photo: Michael Phipps
Reclining Figure: Angles 1979
LH 675
plaster
The Henry Moore Foundation: gift os the artist 1977
photo: Michael Phipps
Working Model for Reclining Figure: Bone Skirt 1977-79
LH 723
plaster
The Henry Moore Foundation
photo: Michael Phipps
Horse's Head 1980
LH 801
plaster, wood base
The Henry Moore Foundation
photo: Michael Phipps
Ideas for Sculpture: Seated Figures and Heads 1930
HMF 803
pen and ink, crayon on cream lightweight wove
182 x 112 mm
signature (added later): pen and ink l.r. Moore, undated
The Henry Moore Foundation: gift of the artist 1977
photo: Michael Phipps
Ideas for Sculpture 1938
HMF 1392b
pencil, crayon, chalk, watercolour, wash, pen and ink
185 x 277mm
signature: pen and ink l.r. Moore/38
inscription: pencil l.c.r. Lubetkin; reclining
The Henry Moore Foundation: acquired 2003
photo: Michael Phipps
Ideas for Sculpture: Two Seated Figures 1980
HMF 80(253)
charcoal, wax crayon, ballpoint pen, watercolour wash on off-white wove
260 x 287mm
signature: ballpoint pen l.l. Moore/80
The Henry Moore Foundation: acquired 1987
photo: Henry Moore Foundation Archive
‘These are not plaster casts; they are plaster originals . . . they are the actual works that one has done with one’s own hands.’[1] This exhibition is the first to look exclusively at Moore’s work in plaster. The selection includes work in plaster of all sizes spanning over thirty years. Over two years preparation for this project has enabled the Henry Moore Foundation’s conservators to restore many original plasters for some of Moore’s most iconic and monumental works. It has never before been possible to exhibit the plasters for Seated Man 1949 (LH 269), Upright Motive No.9 1979 (LH 586a) and Reclining Figure: Angles 1979 (LH 675). Three Way Piece No.1: Points 1964-65 (LH 533) is so large and fragile that it has only emerged from its crate twice since its creation from wooden spikes, hessian and plaster over forty years ago. Almost all of Moore’s major works are represented here in at least one stage of the enlargement process – either as a diminutive maquette in the artist’s studio or as a more robust working model, or indeed in its full scale glory. Many of the artist’s ideas were never fully resolved and remain incomplete; for these trials the plaster is often the only version. Significantly over 90% of Moore’s ideas never went beyond the original maquette stage. [1] Henry J. Seldis, Henry Moore in America, Phaidon, London; Praeger, New York 1973, pp.222-4; cited in Alan Wilkinson, Henry Moore Writings and Conversations, Lund Humphries, Ashgate 2002, p.76.