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Lot Essay
A Workbasket was Moore's sole entry to the Royal Academy exhibition of 1879. Initially conceived as a drapery study for the central figure of Dreamers (fig. 1) exhibited at the Academy three years later, A Workbasket was the first of the studies on canvas. It was typical of Moore's meticulous preparatory method to execute these studies which he would then develop as individual works of art. Following its exhibition at the Royal Academy, the Magazine of Art chose A Workbasket as one of the 'Pictures of the Year' and wrote, "Mr. Albert Moore is as exquisite as ever. His careful and solid drawing should certainly serve as an example to his brothers of the decorative school" (1879, vol. 2, p. 440).
While Moore's earlier paintings betrayed a strong Pre-Raphaelite influence both in subject and in technique, there was a marked change in his paintings after his 1862 visit to Rome. There, he was able to study classical sculpture and wall decorations and from there on he incorporated these motifs in his oeuvre. Moore also became increasingly influenced by the new movement of Aestheticism, which espoused that beauty should be pursued as an end in itself, without moralizing overtone. This new focus in his painting was also reinforced through his friendship with James McNeill Whistler whom he met in 1865 and whose pictures depicted aimless activity and languorous poses, consciously absent of anecdote.
Increasingly Moore's work came to emphasize color harmonies over subject matter and A Workbasket exemplifies the artist's exploration of color relationships. Its subtle variations of green, ivory and pink tones restate with color the feeling of repose conveyed by the attitude of the figure. In a letter dated 27 January 1999 Robyn Asleson writes, "The inactivity of the sleeping figure is meant to be viewed as an arrangement of line and color-an integral element in the picture's overall pattern" no different from the wallpaper, fabrics, carpet and tile floor. A Workbasket also relates to Moore's Jasmine (fig. 2), exhibited at the Grosvenor Gallery in 1880. The latter painting employs the same basic figural composition but utilizes a color scheme of pink, red and black.
Just as Moore's abstract approach to color anticipated the formalist concerns of later twentieth century artists, so did his use of titles that were devoid of narrative connotations. By alluding to insignificant objects such as the workbasket in the present painting, Moore encouraged the viewer to concentrate on the purely visual elements of the picture, characteristically blending his monogram into the composition as a Greek anthemion.
We are grateful to Robyn Asleson for her assistance in preparing this catalogue entry.
fig. 1
A. Moore The Dreamers, Collection Birmingham Museum and Art Gallery.
fig. 2
A. Moore, Jasmine, Collection Watts Gallery, Compton.
While Moore's earlier paintings betrayed a strong Pre-Raphaelite influence both in subject and in technique, there was a marked change in his paintings after his 1862 visit to Rome. There, he was able to study classical sculpture and wall decorations and from there on he incorporated these motifs in his oeuvre. Moore also became increasingly influenced by the new movement of Aestheticism, which espoused that beauty should be pursued as an end in itself, without moralizing overtone. This new focus in his painting was also reinforced through his friendship with James McNeill Whistler whom he met in 1865 and whose pictures depicted aimless activity and languorous poses, consciously absent of anecdote.
Increasingly Moore's work came to emphasize color harmonies over subject matter and A Workbasket exemplifies the artist's exploration of color relationships. Its subtle variations of green, ivory and pink tones restate with color the feeling of repose conveyed by the attitude of the figure. In a letter dated 27 January 1999 Robyn Asleson writes, "The inactivity of the sleeping figure is meant to be viewed as an arrangement of line and color-an integral element in the picture's overall pattern" no different from the wallpaper, fabrics, carpet and tile floor. A Workbasket also relates to Moore's Jasmine (fig. 2), exhibited at the Grosvenor Gallery in 1880. The latter painting employs the same basic figural composition but utilizes a color scheme of pink, red and black.
Just as Moore's abstract approach to color anticipated the formalist concerns of later twentieth century artists, so did his use of titles that were devoid of narrative connotations. By alluding to insignificant objects such as the workbasket in the present painting, Moore encouraged the viewer to concentrate on the purely visual elements of the picture, characteristically blending his monogram into the composition as a Greek anthemion.
We are grateful to Robyn Asleson for her assistance in preparing this catalogue entry.
fig. 1
A. Moore The Dreamers, Collection Birmingham Museum and Art Gallery.
fig. 2
A. Moore, Jasmine, Collection Watts Gallery, Compton.