id: 173100 accession number: 1947.685 share license status: Copyrighted url: https://clevelandart.org/art/1947.685 updated: 2023-03-24 11:13:14.283000 Madonna and Child, 1943. Henry Moore (British, 1898–1986). Pencil, black and white crayon, watercolor, and black ink; The Cleveland Museum of Art, Hinman B. Hurlbut Collection 1947.685 © 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York title: Madonna and Child title in original language: series: series in original language: creation date: 1943 creation date earliest: 1943 creation date latest: 1943 current location: creditline: Hinman B. Hurlbut Collection copyright: © 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York --- culture: England, 20th century technique: pencil, black and white crayon, watercolor, and black ink department: Drawings collection: DR - British type: Drawing find spot: catalogue raisonne: --- CREATORS * Henry Moore (British, 1898–1986) - artist Henry Moore British, 1898-1986 Born in Castleford, Yorkshire, Henry Moore was one of this century's most famous sculptors. Following studies at Leeds College of Art and the Royal College of Art in London, Moore began carving sculpture from stone and wood in the early 1920s. His work was first publicly exhibited in a 1924 group show at London's Redfern Gallery, and the following year he traveled through Europe on a scholarship from the Royal College of Art. Moore was given his first one-artist exhibition at London's Warren Gallery in 1928 and that same year received his first public commission (West Wind, a relief carving in stone for one of the facades of the city's new Underground Railway headquarters). By the early 1930s he had been named head of the new department of sculpture at the Chelsea School of Art in London, and in 1934 the first monograph devoted to his sculpture was published, Henry Moore: Sculpture. During the early years of his career, Moore began photographing his sculptures, creating images that generally served as straightforward records of completed pieces or as documents of works in progress. Some were more dramatic, employing an unusual viewpoint or strong, raking light to emphasize a piece's particular texture: stone, wood, lead, or bronze. Moore often worked on his sculpture outdoors, and most of his photographs are set outside as well. Photography sometimes proved a useful tool in helping him decide how a work should be sited (the best height for viewing or its proximity to a grove of trees, for example). Over the years, Moore produced hundreds of photographs, creating a personal document of his long career. A selection of these images was featured in Henry Moore's Photographs of His Sculpture, an exhibition organized by the San Francisco Museum of Modern Art (1985). The Cleveland Museum of Art also owns three sculptures by Moore. M.M. --- measurements: state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Contemporary Art opening date: 1960-09-13T04:00:00 Contemporary Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 13, 1960-January 8, 1961). title: Aspects of Drawing opening date: 1961-01-10T05:00:00 Aspects of Drawing. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961). title: Prints and Drawings, 1916-1965 opening date: 1966-05-20T04:00:00 Prints and Drawings, 1916-1965. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966). title: Directions in Drawing II: The Human Figure opening date: 1991-11-05T05:00:00 Directions in Drawing II: The Human Figure. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992). title: Changing Dimensions: Works on Paper by Sculptors opening date: 1995-11-22T05:00:00 Changing Dimensions: Works on Paper by Sculptors. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1995-January 24, 1996). --- LEGACY EXHIBITIONS * Cleveland Museum of Art, 1995-1996: Changing Dimensions: Works on Paper by Sculptors: November 22, 1995-January 24, 1996, no cat. --- PROVENANCE --- fun fact: digital description: wall description: This is a study for a stone sculpture in the Church of St. Matthew, Northampton, England. Moore once commented on the relationship between drawing and sculpure: "Every few months I stop carving for two or three weeks and do life drawing...Drawing and carving are so different that a shape or size or conception which ought to be satisfying in a drawing will be totally wrong realized as stone. Nevertheless there is a connection between my drawings and my sculpture. Drawing keeps one fit, like physical exercises---perhaps acts like water to a plant---and lessens the danger of repeating onself and getting into a formula. It enlarges one's form repertoire, one's form experience. But in my sculpture I do not draw directly upon the memory or observation of a particular object, but rather use whatever comes up from my general fund of knowledge of natural forms." --- RELATED WORKS --- CITATIONS The Cleveland Museum of Art. The Cleveland Museum of Art Handbook. Cleveland, OH: The Cleveland Museum of Art, 1958. page number: Mentioned and Reproduced: cat. no. 610 url: https://archive.org/details/CMAHandbook1958/page/n112 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. page number: Reproduced: p. 200 url: https://archive.org/details/CMAHandbook1966/page/n224 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 200 url: https://archive.org/details/CMAHandbook1969/page/n224 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 246 url: https://archive.org/details/CMAHandbook1978/page/n266 --- IMAGES