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拍品专文
With its intricate shape, and signature amalgamation of figurative forms and abstract elements in bronze, Henry Moore’s Reclining Figure from 1945 perfectly exemplifies his preoccupation with the recumbent female form. ‘From the very beginning, the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures’ (the artist, quoted in A.G. Wilkinson (ed.), Henry Moore: Writings and Conversations, Los Angeles, 2002, p. 212).
Moore’s mastery of this form is patently evident in the rhythmic rising and falling curves seen in Reclining Figure. The remarkable interplay of three-dimensional forms and empty space is produced by meandering and undulating lines that create the ‘tension, force, and vitality’, as well as the harmony, that Moore sought to convey (see C. Lichtenstern, Henry Moore: Work, Theory, Impact, London, 2008, p. 101).
The manner in which the female form is propped up on one elbow, with her twisting elongated torso and her knee raised up, is compositionally similar to other important examples of Moore’s reclining figures such as Recumbent Figure (1935), in the collection of Tate, London.
Moore’s mastery of this form is patently evident in the rhythmic rising and falling curves seen in Reclining Figure. The remarkable interplay of three-dimensional forms and empty space is produced by meandering and undulating lines that create the ‘tension, force, and vitality’, as well as the harmony, that Moore sought to convey (see C. Lichtenstern, Henry Moore: Work, Theory, Impact, London, 2008, p. 101).
The manner in which the female form is propped up on one elbow, with her twisting elongated torso and her knee raised up, is compositionally similar to other important examples of Moore’s reclining figures such as Recumbent Figure (1935), in the collection of Tate, London.