CC BY-SA 2.0 Click on a date/time to view the file as it appeared at that time. Henry Moore: Complete Sculpture, Volume 1, Sculpture 1921-48. Penelope Curtis, ‘Family Group 1948–49’, in Mitchinson 2006, p.221. When the educationalist Henry Morris approached Moore, in the 1930s, it was with an inspirational vision to create a centre for the surrounding villages, designed by the architect Walter …, Standing Group No 2 (Large Version), 1952, Mother and Child, from the Italian edition of The Shelter Sketchbook, 1967, Two Standing Figures with Studies on the Left, circa 1950, Three Sculptural Forms, from La Poésie [Cramer 320], 1973, Petals, from La Poésie [Cramer 319], 1974, Two Upright Motives, 1966 (C. 64) and The Observers, 1981, Teddy Boy and Girl 1955 (Second Version 1974), 1974, San Francisco Museum of Modern Art (SFMOMA), Cast by the Gaskin Foundry, London in 1956. In 2018, he was named by ePrivateclient as one of the 'Top 35 under 35', and by Accountancy Age as one of the 'Top 35 under 35 in business'. Henry Moore: writings and conversations; edited and with an introduction by Alan Wilkinson. While the mother looks towards the father, he and the child he is holding look outwards away from the family. Celebrating Moore: Works from the collection of the Henry Moore Foundation; edited by David Mitchinson. Family Group is derived from one of a number of maquettes that Moore made for a sculpture for Impington Village College in Cambridgeshire. Early in 2019 he established Moore Family Office as part of Moore Global to specialise in looking after the international families with whom he had been working for over forty years. Cast in an edition of six, the original commission remains at Barclay School and the other casts are in the collections of the Henry Moore Foundation; Tate; the Museum of Modern Art, New York; Hakone Open-Air Museum, Japan; and Norton Simon Art Foundation, Pasadena.[3]. Moore repeatedly explored the motif of seated figure groups in the years after the Second World War. All Rights Reserved. Henry Moore, letter to John Rothenstein, 4 April 1950, Tate Public Records TG 4/2/742/2. Although this plaster working model has been dated to 1945, the revised shape of the father’s head – along with its fabrication in plaster, a material Moore had rarely used prior to the Barclay School commission – suggests that it was actually made in preparation for the full-size sculpture between 1947 and 1948. He specialises in UK tax and the taxation issues relating to international families. The figures’ knees are drawn up so that their bodies appear to be folding inwards, and their torsos are unnaturally thin. Another smaller, probably younger child sits in the mother’s lap, with its back to her chest. The family group also had a particularly personal resonance as Moore and his wife, Irina, had their first and only child, Mary, in 1946 after many years of marriage. Henry Moore, letter to John Rothenstein, 28 April 1951, Tate Public Records TG 4/2/742/2. © The Henry Moore Foundation. In Family Group, Moore moderated the more extreme elements of his modernism in favour of enhanced humanism, perhaps emulating a sensitivity he had so successfully employed in his recent shelter drawings. Each measurement referred to a specific point on the surface of the model, which could then be recreated to the correct scale. Moore was keen, as he had already made a number of maquettes and drawings on the theme of family groups. Family Group is derived from one of a number of. See Eugène Rudier, letter to Norman Reid, 23 February 1951, Tate Public Records TG 4/2/742/2. Moore himself inspired many artists including his former studio assistants Anthony Caro and Richard Wentworth. The ‘village college’ was intended to be a focus of community life and a centre of education for all generations.

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