In the late 1920s and the 1930s, Henry Moore (1898–1986) – soon recognised as the most significant British artist of his generation – drew inspiration from various aspects of Picassos art. He was certainly looking at Picasso by 1924.
While the two artists shared a debt to African and other non-western traditions, Picassos neo-classical work of the early 1920s reinforced Moores interest in Greco-Roman and Renaissance sculpture. Moore recognised a tension in both their work between the Mediterranean tradition and so-called primitive sources.
In the 1920s and 1930s, Moore mainly encountered Picassos latest work in journals such as Cahiers dArt. Picassos drawings made in relation to a commission for a monument to the poet Guillaume Apollinaire, which were reproduced in the magazine, were especially stimulating for Moore. Picassos depiction of the human body as a pile of detached but suggestive abstract forms, was echoed in a series of multi-part sculptures made by Moore around 1934.
When Moores art became more abstracted in the early 1930s, it seems to have drawn upon that of Picasso. Both artists were resistant to Surrealism but Moore found in Picassos distorted, eroticised figures a model for an expression of the body as a physical presence.