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拍品專文
'The whole of my development as a sculptor is an attempt to understand and realise more completely what form and shape are about, and to react to form in life, in the human figure, and in past sculpture. This is something that can't be learnt in a day, for sculpture is a never-ending discovery' (Moore, quoted in D. Mitchinson (ed.), Henry Moore Sculpture, London, 1981, p. 296).
Henry Moore's reputation as the pre-eminent Modern sculpture is grounded in the essential humanity of his work, regardless of scale. He first found his inspiration in the antique; following this he allied himself to Surrealism, then embraced 'pure' abstraction and when he found abstraction to have its limitations he returned in his late work to the human form. In Reclining figure: Circle, Moore takes the abstraction of the human form further than in many of his late works, reducing the figure to a few essential elements and shapes, dependent on the balance attained though the figure's three supporting points. 'They [the reclining figures] are made to look as if they themselves had been shaped by nature's energy. They seem to be weathered, eroded, tunnelled-into by the action of wind and water. The first time Moore published his thoughts about art, he wrote that the sculpture which moved him most gave out "something of the energy and power of great mountains"... Moore's reclining figures are not supine; they prop themselves up, are potentially active. Hence the affinity with river-gods; the idea is not simply that of a body subjected to the flow of nature's forces but of one in which those forces are harnessed' (D. Sylvester, Henry Moore, New York and London, 1968, p. 5).
Henry Moore's reputation as the pre-eminent Modern sculpture is grounded in the essential humanity of his work, regardless of scale. He first found his inspiration in the antique; following this he allied himself to Surrealism, then embraced 'pure' abstraction and when he found abstraction to have its limitations he returned in his late work to the human form. In Reclining figure: Circle, Moore takes the abstraction of the human form further than in many of his late works, reducing the figure to a few essential elements and shapes, dependent on the balance attained though the figure's three supporting points. 'They [the reclining figures] are made to look as if they themselves had been shaped by nature's energy. They seem to be weathered, eroded, tunnelled-into by the action of wind and water. The first time Moore published his thoughts about art, he wrote that the sculpture which moved him most gave out "something of the energy and power of great mountains"... Moore's reclining figures are not supine; they prop themselves up, are potentially active. Hence the affinity with river-gods; the idea is not simply that of a body subjected to the flow of nature's forces but of one in which those forces are harnessed' (D. Sylvester, Henry Moore, New York and London, 1968, p. 5).