Iluna gordelekuan/ Oscuridad en el refugio - The Courtauld Institute ...

60
. Heron: op. cit., p. 211-12.
61
. Sculpture and drawings by Henry Moore, exhibition catalogue, Tate Gallery, loc. cit., p. 8.
62
. A.B.D. Sylvester, ‘Henry Moore’s drawings’, loc. cit., p. 32. He claims elsewhere that this ambiguity
in Moore is a means of communication because it establishes relations between different natural forms. Essay
in Henry Moore. Sculpture and Drawings, 1923-1948, exhibition catalogue, Wakefield and Manchester, loc.
cit., p. 1.
201.
63
. Paul Waldo Schwarz, The Hand and Eye of the Sculptor, New York, Washington, London, 1969, p.
64
. Taylor’s protest at Moore’s combination of natural forms and the figure as ‘metaphysical’ should be
noted. Sculpture has a strong material presence and is unsuitable as a vehicle for the metaphorical except ‘when
the idea can be presented through a body of palpable symbolism, when the idea presents itself to the artist in
terms of some visible object.’ Heron and Taylor, ‘Henry Moore -- pro and con’, loc. cit., p. 55.
65
. Rudolf Arnheim, ‘The Holes of Henry Moore. On the function of space in sculpture’, Journal of
Aesthetics and Art Criticism, vol. VII, no. 1, September 1948, p. 33.
66
. Grohmann, op. cit., pp. 137, 139.
67
. Read, op. cit., 127.
68
. Geoffrey Grigson, Henry Moore, Harmondsworth, Middlesex, 1943, p. 10.
69
. Interview with David Sylvester, BBC Radio, broadcast 14 July 1963.
70
. Heron and Taylor, op. cit., 53.
71
. Sylvester, ‘Henry Moore’s sculpture’, Britain Today, no. 215, March 1954, p. 34.
72
. Moore interviewed by Marie Louise Pinckney for the Virginia Museum of Art, July 1965.