This volume presents the early development of American artist Henry Moore (1898-1986) as an art student prodigy and continues on through his career, with a focus on his "Shelter Drawings," a series depicting Londoners who sought shelter in the Underground during the Blitz. The author also explores the influence of surrealism and its biomorphic shapes on Moore's work in the 1920s and 1930s. The author concentrates his focus on how Moore developed his ideas as a two-dimensional artist, even though a number of his great sculptures are illustrated here. This work demonstrates that Moore used drawing and painting as a way of exploring and clarifying his ideas, not as a preliminary to any specific sculpture -- he didn't make extensive pre-sculpture sketches, preferring to gain a general concept of where he was going and then make alterations during the slow course of the actual carving or modeling.
"This volume presents the early development of American artist Henry Moore (1898-1986) as an art student prodigy and continues on through his career, with a focus on his "Shelter Drawings," a series depicting Londoners who sought shelter in the Underground during the Blitz. The author also explores the influence of surrealism and its biomorphic shapes on Moore's work in the 1920s and 1930s. The author concentrates his focus on how Moore developed his ideas as a two-dimensional artist, even though a number of his great sculptures are illustrated here. This work demonstrates that Moore used drawing and painting as a way of exploring and clarifying his ideas, not as a preliminary to any specific sculpture -- he didn't make extensive pre-sculpture sketches, preferring to gain a general concept of where he was going and then make alterations during the slow course of the actual carving or modeling."@en
"This volume presents the early development of English artist Henry Moore (1898-1986) as an art student prodigy and continues on through his career, with a focus on his "Shelter Drawings," a series depicting Londoners who sought shelter in the Underground during the Blitz. The author also explores the influence of surrealism and its biomorphic shapes on Moore's work in the 1920s and 1930s. The author concentrates his focus on how Moore developed his ideas as a two-dimensional artist, even though a number of his great sculptures are illustrated here. This work demonstrates that Moore used drawing and painting as a way of exploring and clarifying his ideas, not as a preliminary to any specific sculpture -- he didn't make extensive pre-sculpture sketches, preferring to gain a general concept of where he was going and then make alterations during the slow course of the actual carving or modeling."
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