Catalogue entry

T02284 RELIEF NO. 1 1959

Inscribed ‘Moore 0/6’ on drapery near left foot
Bronze, 87 3/8 × 49 1/4 × 19 5/8 (221.9 × 125.1 × 49.8)
Presented by the artist 1978
Exh: Henry Moore: an exhibition of sculpture from 1950–1960, Whitechapel Art Gallery, December 1960–January 1961 (71, repr.); Henry Moore, Rijksmuseum Kröller-Müller, Otterlo, May–July 1968, Museum Boymans-Van Beuningen, Rotterdam, September–November 1968 and Mathildenhöhe, Darmstadt, Spring 1969 (100, repr.); The Henry Moore Gift, Tate Gallery, June–August 1978, repr. p.40
Lit: Will Grohmann, The Art of Henry Moore, 1960, p.232 (original plaster repr. pl.190); Herbert Read, Henry Moore, 1965, p.224 (repr. pl.210); Philip James (ed.), Henry Moore on Sculpture, 1966, pp.275–7 (repr. pl.126); John Hedgecoe and Henry Moore, Henry Moore, 1968, p.391, repr.; John Russell, Henry Moore, 1968, p.178 (repr. pl.183); Alan G. Wilkinson, The Moore Collection in the Art Gallery of Ontario, Toronto, 1979, p.161 (another cast repr. pl.138)
Repr: Alan Bowness (ed.), Henry Moore Sculpture 1955–64, 1965, pl.72, 73

L.H. 450, cast in an edition of six bronzes plus one, the artist's cast, which is now the Tate's work. Another cast is in the Moore Collection, Art Gallery of Ontario. Wilkinson, op.cit., discusses the origins of the work in Moore's maquettes for the Bouwcentrum ‘Wall Relief’ 1955 (L.H. 375; see note on T02281 above).

The artist told the compiler (12 December 1980) that his intention in ‘Relief No. 1’ had been to emphasise the projectional, forceful qualities of relief as opposed to using it pictorially like a narrative frieze, as Renaissance sculptors had done and as he had been taught to do at art college (for a fuller account of Moore's views on relief sculpture, see Philip James, op. cit., pp.275–7). Hence the stylisation and exaggeration of certain protrusions and recessions in the sculpture: the umbilicus and the chest, for example. In Hedgecoe, Moore compared the work to a similar plaster which he had not had cast into bronze because he was dissatisfied with it: ‘The projecting parts are too evenly spread and too evenly apportioned throughout the figure. There is no obvious focal point. In the bronze sculpture [T02284] you know the middle and you know where the shoulders are. It has a centre, a kernel, and an organic logic’ (op. cit.)

Published in:
The Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London 1981