Henry Moore

Moore, Henry Sir
British, 1898 - 1986

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A gleaming, free-standing, abstract bronze sculpture made up of three rounded forms fills a two-story, covered entryway. The rounded, smooth forms sit side by side. The form on our right curves slightly inward up the left side and is lightly pinched at the center along the right side. The form on the left is shaped like a fat U with a deep, wide curve at the bottom. Most of the sculpture’s surface is lightly mottled in a rich honey-brown color, except at the top of the front face of the U’s arm, which looks as if it were cut vertically to expose an elongated oval shaped disk of highly polished, bright gold-colored bronze. A third form appears as a straight vertical element behind and to the left of the U-shaped piece. The building behind the sculpture has two stories of floor-to-ceiling windows, which reflect darkly in this photograph. The floor and ceiling above the sculpture, where the entryway covers it, are smooth, buff-pink stone. Two rows of deep-set triangles recede into the ceiling.
Henry Moore, Knife Edge Mirror Two Piece, 1976-1978, bronze, Gift of The Morris and Gwendolyn Cafritz Foundation, 1978.43.1

Knife Edge Mirror Two Piece

Henry Moore · 1976-1978 · bronze ·  Accession ID  1978.43.1
The artwork is a large, abstract stone sculpture featuring smooth, rounded forms with multiple curves and openings. It is made of a light-colored stone with a textured surface that includes natural striations and markings. The sculpture is placed on a low, square pedestal in a spacious gallery setting with neutral-toned flooring and walls. The sculpture's shape contrasts with the geometric lines of the architectural space around it.
Henry Moore, Stone Memorial, 1961/1969, Roman travertine, Collection of Mr. and Mrs. Paul Mellon, 1983.1.71

Stone Memorial

Henry Moore · 1961/1969 · Roman travertine ·  Accession ID  1983.1.71
The sculpture features three abstract, figure-like forms against a textured background with rectangular cutouts. The figures are seated and bent in various poses, with human-like silhouettes but abstract features. The sculpture is made of green-hued patinated bronze, giving it a mottled appearance with darker accents in recessed areas. The bronze has an aged and weathered look, offering a rich texture that highlights the contours and shapes. This provides depth and complexity to the sculpture, with shadowed areas accentuating the overall composition.
Henry Moore, Three Motives Against Wall, Number 1, 1958, bronze, Gift of Enid A. Haupt, 1977.47.10

Three Motives Against Wall, Number 1

Henry Moore · 1958 · bronze ·  Accession ID  1977.47.10
The image shows a reclining figure in a side profile, from head to legs. The person is lying back with the upper body propped up on one elbow, facing left. The face is not detailed, and the hair is long and dark. No clothing is visible, and abstract shading adds depth. The background has abstract patterns and colors in earthy tones, blending with the figure. Hazy motifs and subtle line work are also present.
Henry Moore, Curwen Press, Reclining Woman on Yellow Background, 1982, color lithograph on wove paper, The John U. and Evelyn S. Nef Collection, 2011.60.70

Reclining Woman on Yellow Background

Henry Moore, Curwen Press · 1982 · color lithograph on wove paper ·  Accession ID  2011.60.70
The sculpture depicts an abstract human form reclining on its side, with one arm resting beneath its head and the other along its side. The body features smooth, flowing curves and a hollow section around the torso area. This sculpture is made of a dark, polished material, likely bronze, positioned on a black stone base, surrounded by grass and trees in a natural outdoor setting. The abstracted human figure is stylized rather than anatomically realistic, offering a smooth, minimalist surface with details simplified or omitted.
Henry Moore, Reclining Woman: Elbow, 1981, bronze, Gift of Norma Lee and Morton Funger, 2005.159.1

Reclining Woman: Elbow

Henry Moore · 1981 · bronze ·  Accession ID  2005.159.1
The image shows a large abstract sculpture with organic, curving forms placed horizontally on a textured surface. The color palette includes various shades of gray, creating a monochromatic effect. The sculpture is in the foreground, slightly off-center towards the right, against a heavily textured background.
Henry Moore, Reclining Figure, Interior Setting I, 1977, color lithograph on T. H. Saunders wove paper, Gift of John E. Stocker, 2006.125.10

Reclining Figure, Interior Setting I

Henry Moore · 1977 · color lithograph on T. H. Saunders wove paper ·  Accession ID  2006.125.10
The sculpture features an abstract form composed of two distinct, curvilinear sections. It is crafted from a material that has a bronze-like appearance. The left section has a convex curve with a slightly inward slope, while the right section displays a gentle outward curve. The overall appearance of the sculpture is smooth with soft edges, reflecting light to emphasize its form and texture. It presents itself with a balanced yet asymmetrical design.
Henry Moore, Two Piece Mirror Knife Edge, 1976-1977, plaster, Gift of The Morris and Gwendolyn Cafritz Foundation, 1978.43.2

Two Piece Mirror Knife Edge

Henry Moore · 1976-1977 · plaster ·  Accession ID  1978.43.2
The sculpture is an abstract form with smooth, curvilinear surfaces. It consists of two distinct sections separated by a gap. The sculpture is made of bronze with a polished surface. One section has a lighter, oval-shaped detail contrasting the overall warm tone. It sits on a flat, rectangular bronze base. The abstract sculpture has a contemporary aesthetic with fluid lines and harmonious curves, looking modern and elegant.
Henry Moore, Two Piece Mirror Knife Edge, 1976-1977, bronze, Adolph Caspar Miller Fund, 1978.13.1

Two Piece Mirror Knife Edge

Henry Moore · 1976-1977 · bronze ·  Accession ID  1978.13.1
The image displays an arrangement of fluid, organic shapes and lines that create an abstract composition. The forms suggest sculpted figures with contoured, swirling bodies that resemble human silhouettes in various postures. Some shapes resemble seated figures on benches or stools, while others appear reclining or upright as if engaged in physical interaction. The overall abstraction invites viewers to interpret the interplay of shapes as familiar forms, such as people or sculptural art, but without realistic depiction.
Henry Moore, Curwen Press, International Exhibitions Foundation, Ideas for Sculptures, 1975, color lithograph on T. H. Saunders wove paper, Corcoran Collection (Gift of Olga Hirshhorn), 2015.19.3394

Ideas for Sculptures

Henry Moore, Curwen Press, International Exhibitions Foundation · 1975 · color lithograph on T. H. Saunders wove paper ·  Accession ID  2015.19.3394
The image shows a series of intricate, overlapping lines curving and intersecting against a dark background to form abstract shapes. Resembling human faces, the shapes have circular outlines and crossing lines indicating facial features. The composition evokes faces viewed through a veil or behind a screen, with hints of depth from the layering of lines. Additionally, there are crosses and other small linear shapes scattered across the top portion of the image.
Henry Moore, Three Heads, 1973, color lithograph on wove paper, Gift of Cecilia W. Spearing, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.237.2

Three Heads

Henry Moore · 1973 · color lithograph on wove paper ·  Accession ID  1991.237.2