In Tate Modern
- Artist
- Henry Moore OM, CH 1898–1986
- Medium
- African wonderstone on oakwood base
- Dimensions
- Object: 445 × 457 × 298 mm
- Collection
- Tate
- Acquisition
- Presented by the Friends of the Tate Gallery 1960
- Reference
- T00385
Display caption
- Moore drew inspiration from many sources, including natural forms and ancient sculptures. He also responded to the work of other artists working at the time. This sculpture is both organic and abstract. But its form and structure also link it to traditional portrait busts. This reflects Moore’s belief that ‘all the best sculpture I know is both abstract and representational at the same time’. Composition is an example of his radical inventiveness. Moore argued that surrealism and abstraction were not in conflict. He wrote of the importance of the ‘nonlogical, instinctive, subconscious part of the mind’ in his artistic process.
Gallery label, August 2020
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Catalogue entry
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Henry Moore OM, CH Two Seated Figures
1940 -
Henry Moore OM, CH Recumbent Figure
1938 -
Henry Moore OM, CH Girl
1931 -
Henry Moore OM, CH Composition for a Poem by Herbert Read
c.1946 -
Henry Moore OM, CH Figure
1931 -
Henry Moore OM, CH Half-Figure
1932 -
Henry Moore OM, CH Drawing
1935 -
Henry Moore OM, CH Four Forms, drawing for a Sculpture
1938 -
Henry Moore OM, CH Stringed Figure
1938, cast 1960 -
John Tunnard Composition
1942 -
Henry Moore OM, CH Four-Piece Composition: Reclining Figure
1934 -
Henry Moore OM, CH Three Points
1939–40, cast before 1949 -
Henry Moore OM, CH Three Motives Against Wall No.2
1959, cast 1962 -
John Bigge (Sir John Amherst Selby-Bigge, Bt) Composition
1933 -
Henry Moore OM, CH Mask
?1928
