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NOTES 1 . The association has been made by Erich Neumann in The Archetypal work of Henry Moore, 1959; repr. Princeton, N.J. 1985, and by many others. Neumann is also reflecting a common view when he says that Moore’s work is an expression of the ‘Primordial Feminine’, and is thus in fundamental opposition to the masculine, technological culture of the day (p. 12). However, Neumann too was deeply uncomfortable about the work made just before and during the war which revealed the negative and ‘devouring’ aspect of the archetype (pp. 113 ff.). 2 . Kenneth Clark, ‘Henry Moore’s metal sculpture’, Magazine of Art, vol. 44, no. 5, May 1951, p. 171. 3 . Philip Hendy, ‘Henry Moore. His new exhibition’, Britain Today, no. 158, June 1949, p. 36. 4 . For instance Robin Ironside on drawings which show figures in hieratic attitudes ‘secreting within themselves the clue to their apparently preordained immobility . . . the impassive resignation of these occasionally mutilated beings’. ‘Painting since 1939’, in Arnold L. Haskell, Dilys Powell, Rollo Myers and Robin Ironside, Since 1939. Ballet. Films. Music. Painting, London 1948, pp. 173-174. 5 . George Wingfield Digby: Meaning and Symbol in Three Modern Artists, London 1955, pp. 61, 63. Digby does not say so, but the reduction or removal of the head in a representation was a Surrealist device used to indicate the loss of reason. 6 . Ibid., pp. 67-72. This view was shared by Neumann, op. cit., p. 3. 7 . Nikolaus Pevsner, ‘Thoughts on Henry Moore’, The Burlington Magazine, vol. LXXXVI, no. 503, February 1945, p. 49. 8 . Digby, op. cit., pp. 73-76. 9 . This association is made specifically by Neumann, op. cit., p. 67.
10 . A.B.D. Sylvester, ‘The evolution of Moore’s sculpture: I’, The Burlington Magazine, vol. XC, no. 542, May 1948, p. 163. 11 . Pevsner, op. cit., p. 49. 12 . Digby, op. cit., p. 84. The same applies to the related internal/external forms which Sylvester called ‘Blind reptiles, haunted by the memory of a former human incarnation.’ ‘Henry Moore’s drawings’, Britain Today, no. 151, November 1948, p. 34. 13 . Essay by A.B.D. Sylvester in exhibition catalogue, City Art Gallery, Wakefield/Manchester City Art Gallery: Henry Moore. Sculpture and drawings, 1923-1948, (1949) p. 2. Sylvester also thought that Moore used the ‘mechanistic sleekness’ of lead to make figures that are like skeletons or scaffolding. ‘The evolution of Moore’s sculpture: I’, loc. cit., p. 164. 14 . Frederick S. Wight, ‘Henry Moore: the reclining figure’, The Journal of Aesthetics and Art Criticism, vol. VI, no. 2, December 1947, p. 103. 15 . Ibid., p. 103. Wight also thought that these comments applied to the mine pictures, the mine being another kind of grave and that in general they applied to many of Moore’s Reclining Figures. 16 . A.B.D. Sylvester: ‘Henry Moore’s drawings’, loc. cit., p. 34. 271f. 17 . An account of this visit can be found in Roger Berthoud, The Life of Henry Moore, London 1987, pp. 18 . Dennis Rudder quoted in Eric Newton, War through artists’ eyes. Paintings and Drawings by British War Artists, London 1945, p. 9. 19 . Patrick Heron and Basil Taylor, ‘Henry Moore -- pro and con’, Encounter, vol. VI, no. 2, February 1956, p. 54. A similar passage appears in Heron’s The Changing Forms of Art (London 1955) where he also asks ‘What cosmic catastrophe compels the attention, even of these terrified vertebrates?’ (p. 215).
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Page 3 and 4: woman’. 2 Philip Hendy described
Page 5 and 6: forms of the Helmet Heads were also
Page 7 and 8: Unesco Reclining Figure, 1957-8 (LH
Page 9 and 10: well as much which is ugly, malform
Page 11 and 12: described them as ‘a vague sense
Page 13 and 14: Queen and Family Group figures were
Page 15 and 16: smooth and unmodulated surface that
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Page 19: contrast of an exterior surface of
Page 23 and 24: 32 . Wight, op. cit., p. 96. 33 . H
Page 25 and 26: 60 . Heron: op. cit., p. 211-12. 61

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