Henry Moore - Form Quotes

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In Yorkshire in Adel Woods, just outside Leeds [five miles north of Leeds, England], there was a big rock among many that I've called Adel Rock. That influenced me quite a bit [for instance in making 'Two Piece Reclining Figure, No. 1', 1959]. For me, it was the first big, bleak lump of stone set in the landscape and surrounded by marvelous gnarled prehistoric trees. It had no feature of recognition, no element of copying of naturalism, just a bleak, powerful form, very impressive. It was the local beauty spot, so to speak, and I knew it from a child. And much later, when I was a student, I would visit it with friends. We would picnic and draw and play around. It was an exciting place for me, Adel Woods...

Henry Moore
The Negroes.... their unique claim for admiration is their power to produce form completely in the round... Negro sculpture is completely in the round, fully-conceived air-surrounded form.

Henry Moore
The conflict between the theories of Surrealism & pure abstraction leads many to look upon one as black & bad & the other as white & good. Yet it seems to me that a good work of art has always contained both abstract & surrealist elements – just as it has both classical & romantic elements (order & surprise?)... Surrealism is widening the field of contemporary art & is giving more freedom to the artist (& perhaps what is not unimportant, – stretching the appreciation of the public). Abstraction is re-establishing fundamental laws; bringing back form to painting & sculpture. There are many products of surrealism which I personally dislike,.... but equally Unimportant to me are the empty decorations produced in the name of abstraction.

Henry Moore
The observation of nature is part of an artist's life, it enlarges his form-knowledge, keeps him fresh and from working only by formula, and feeds inspiration

Henry Moore
When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] Ben Nicholson, they were strongly against it [against Surrealism], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.

Henry Moore
Since the Gothic, European sculpture had become overgrown with moss, weeds – all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth, and make us once more shape-conscious. To do this he has had to concentrate on very simple direct shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious... it may now be no longer necessary to close down and restrict sculpture to the single form unit. We can now begin to open out. To relate and combine together several forms of varied sizes, sections, and directions into one organic whole.

Henry Moore
Mexican sculpture, as soon as I found it, seemed to me true and right, perhaps because I at once hit on similarities in it with some eleventh-century carvings I had seen as a boy on Yorkshire churches. Its 'stoniness', by which I mean its truth to material, its tremendous power without loss of sensitiveness, its astonishing variety and fertility of form-invention and its approach to a full three-dimensional conception of form, makes it unsurpassed in my opinion by any other period of stone sculpture.

Henry Moore
I have always paid great attention to natural forms, such as bones, shells, and pebbles, etc. Sometimes for several years running I have been to the same part of the seashore – but each year a new shape of pebble has caught my eye, which the year before, though it was there in hundreds, I never saw... Pebbles show Nature's way of working stone. Some of the pebbles I pick up have holes right through them... A piece of stone can have [for the sculptor] a hole through it and not be weakened – if the hole is of a studied size, shape and direction. On the principle of the arch, it can remain just as strong.

Henry Moore
The work of the sculptors of my age and somewhat older – Brancusi – Arp – Lipschitz – Laurens – Giacometti – has gradually approached a freedom & moved into space, compared with the sculptors of earlier period – Rodin – Maillol and the young sculptors of today all have the tendency to work with space – to model rather than carve – but it is very necessary in my opinion to have been able to get the refinement and completeness of a single form before going on to space form with no body.

Henry Moore
This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head - he thinks of it, whatsoever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complete form..

Henry Moore
The first hole made through a piece of stone is a revelation. The hole connects one side to the other, making it immediately more three-dimensional. A hole can itself have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form. The mystery of the hole – the mysterious fascination of caves in hill sides and cliffs.

Henry Moore
In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture.

Henry Moore
Our knowledge of shape and form remains, in general, a mixture of visual and of tactile experiences... A child learns about roundness from handling a ball far more than from looking at it.

Henry Moore
The whole of nature is an endless demonstration of shape and form. It always surprises me when artists try to escape from this.

Henry Moore