What Does Abrooks Art Use to Do His Pieces
Deconstructed: Henry Moore's Pocket-size Helmet Head
An in-depth exam of an exceptional instance of i of the artist'south most recognizable sculptural motifs
The unique work Small Helmet Head, 1950, is ane of the finest examples of Henry Moore'south helmet head series. This piece, currently offered in Small is Cute: The Fine art of Sculpture, comes from the collection of the family of Harry A. Brooks, who had a long and distinguished career in the New York art industry and enjoyed a shut friendship with Moore.
Interior Figure of Henry Moore, Small Helmet Head, 1950; bronze with a greenish and night brown patina; 4 iii/8 in. (eleven.ii cm.) loftier, excluding the base; Executed in 1950, this piece of work is unique. © 2015 The Henry Moore Foundation / Artists Rights Society (ARS), New York. Find this piece and other exceptional small-scale-scale sculptural works in Small is Cute: The Art of Sculpture.
One of Moore's most potent symbols was that of the helmet head, a motif the artist developed in the late 1930s and continued to employ throughout his lifetime, revisiting it over again in 1950 with Pocket-size Helmet Caput. Inspired past the New Republic of ireland Malanggan figures and Dogon Mother Masks he saw as a boyfriend, and an epitome of two prehistoric Greek utensils he came across in the 1934 Cahiers d'fine art, Moore began to experiment with the human relationship between internal and external forms; a dialogue he would continue to explore.
First depicted in a sketchbook page of 1939 entitled 2 Heads: Drawing for Metal Sculpture — where two entrapped metallic heads are seen floating in a gloomy half-light, Moore soon began to develop this idea, abstracting shapes and manipulating the elasticity of form to create new and original works. The organic curved, hollowed grade of Small Helmet Caput reveals the subconscious interior figure, seen poking out from underneath the hood-like shape, its half-seen outline encouraging an air of intrigue, willing closer inspection. The green earthy patina tone brings harmony to the work, marrying the seemingly two separate internal and external entities.
1 of Moore's virtually valuable strengths was his ability to present universal symbols... which could be understood internationally merely in turn would resonate on a personal level
Although abstruse in form Small Helmet Caput does not lose its humanistic quality, a exercise Moore saw as paramount to design, citing the 'psychological human being element' as essential in all his works. Moore believed that skilful sculpture was almost opening one's optics to the outside earth, non shutting it off from reality.
One of Moore'south most valuable strengths was his ability to nowadays universal symbols, such as the helmet caput or the mother and child, which could be understood internationally but in turn would resonate on a personal level. Introduced into the creative person'due south repertoire shortly afterward the Start Earth War, the artful of the helmet would have been a potent sign, capturing the individual and the hazards imposed on them by state of war.
Henry Moore, Small Helmet Head, 1950; bronze with a greenish and nighttime brown patina; 4 3/8 in. (xi.2 cm.) high, excluding the base; Executed in 1950, this piece of work is unique. © 2015 The Henry Moore Foundation / Artists Rights Society (ARS), New York. Find this piece and other exceptional minor-scale sculptural works in Small is Cute: The Art of Sculpture.
Using the symbol of the helmet, Moore also explored the threat people felt by the developments in engineering and machinery, in an historic period where weaponry was at the forefront of technological development. Capturing the notions of external danger, entrapment and hostility, whilst as well exploring the ideas of defence, protection and security these advances offered, Moore offers a valuable insight into the political and social attitudes of the twenty-four hours.
German critics viewing Helmet Head No. ane at Moore's 1950 exhibition in Hamburg saw the creative person's piece of work as a commentary confronting the new mechanical world, with the paper Die Welt writing that his work represented 'all of u.s.a. in our Western impotence against mass and the machine.'
The 1950s brought great acclaim for the artist, both at dwelling house and away, thanks to the success of his one-man show at the Museum of Modern Art in New York in 1946 and his award of the international sculpture prize at the Venice Biennale in 1948. During this period Moore held ii retrospective exhibitions, first at the Tate Gallery in 1951 and after at the Whitechapel Gallery in 1961. He also received a series of of import commissions, such as a large reclining figure for the Festival of Uk in 1951 by The Arts Council, a vast etching for the UNESCO edifice in 1958 and the bronze relief Time-life for the adornment of a roof terrace on Bond Street.
Moore's Small Helmet Head is a work with a rich backstory and a significance that inspires the intimate contemplation and then central to the notion that Small is Beautiful. View this infrequent piece among a curated drove of other small-scale sculptures in the Small is Beautiful online auction.
Source: https://www.christies.com/features/Deconstructed-Henry-Moores-Small-Helmet-Head-6533-1.aspx
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