1. List: MOORE, Henry
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    created by: KEVING. on 2018-12-27 08:56:30.0
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  1. Epstein Out-Epsteined Latest in Modern Sculpture
    The Herald (Melbourne, Vic. : 1861 - 1954) Saturday 23 May 1931 p 18 Article Illustrated
    Abstract: Modern "art" has a great deal to answer for. The so-called cubist monstrosities of some European artists are sins that will take a great deal of wash ... 671 words
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    2018-12-27 08:56:30.0

    neems especially likely to set the old-fashioned art critics niul thb "moderns" at loggerheads. TDNDON, April 16 — "Before these works I ponder in silence," writes Mr Jacob Epstein, in a pre fatory note to an exhibition of sculpture by Mr Henry Moore, at tho Leicoster Square galleries. Not so a lady In a fur coat, who took one look at a oarving of a Reclining Woman, minus a fair coat or other adornment, but plus' a pair of enor mously swollen legs. "Hideous!" she said. Mr Epstein would have grieved to hear her say It. Epstein, the master, looks upon the works of Moore, tho dis ciple, and finds them good. Very good. Very good indeed. This Is how he reacts to them — The imagina tion stretches it self in vast dis proportions, and by Impressive outline throws the shadow of our fears upon the background of space; new shapes, growths of our sub conscious n e s s, fill the atmo sphere; robust expression o f secret f 0 r c 0 s ready to burst forth on earth . . . . Forces from within the works project upon our minds what the sculp tor wishes to convey. Here is something t o startle the un thinking out of their complac ency! If you do not react like that to Mr Moore's sculpture; if your sub - conscious ness Is not stirred by an ankle fivaf times thicker than Nature, in her i g n 0 ranee, usually shapes ankles; If you do not detect beauty in a ladv with n. triangular face nursing a baby with a potato-like head — well it morely shows that your sculp tural education has been neglect ed. You are pitifully ignor ant of "the relation of masses." You are blind to "a vision rich in sculptural invention." In short, you are one of the unthinking mob, and must be startled out of your complacency. Mr Henry Moore will do the job quite as thoroughly as any of the moderns. Those whom his Reclin ing Women fail to startle must be acknowledged unstnrtleable! The "vast disproportions" of these crea tures are positively grotesque. They bulge amazingly, incomprehensibly. They have forearms which Camera might envy. They have Gargantuan "vitally' important to the future of sculpture in England" — and sculp ture in England Mr Epstein de clares to be "without imagination or direction." Mr Moore undoubt edly has imagination. Me also pos sesses rare skill in working difficult materials — some of his small pieces In ironstone aro beautifully cut and polished. As to direction. It is to bo hoped, despite the applause of his master, he will not move any further to wards the primitive and the ugly. Sculptural talent such as he un doubtedly possesses — it is shown in some of the beautiful heads in ironstone and alabaster — is too rare to be allowed to waste itself on the execution of the morely... bizarre. lower limbs. They recline massively, and cause one to ponder In silence upon tho effect they would produce if they were to assume an upright posture. Mr Moore, their oroator, is a young Yorkshireman, a mem ber of tho London Group of "ad vanced" artists. Ho has exhibited in various Con tinental cities, and is represented In London by a figure which keeps company 011 tho now Underground building with Epstein's "Day" and "Night." Mr Epstein considers him "Mother and Child," hu Henry Moore.

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  2. Is Greek Sculpture Bogus ? Critic's Startling Charges
    The Herald (Melbourne, Vic. : 1861 - 1954) Saturday 27 August 1932 p 27 Article Illustrated
    Abstract: MODERN scientists like Professor Wood Jones have more than once commented on 19th century 913 words
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    2018-12-27 08:59:45.0

    k Sculpture Bogus ? Critic's Startling Charges By BASIL BURDETT MODERN- scientists like Professor Wood Jones have more than once commented on 19th century self-sufficiency in the sciences. That century which, for most- of us, means the august Victorian era, had a very proper passion for knowledge. In the rush of discovery, however, it was rather nrone to assume more than it really knew. Humility was scarcely 1 one of its attributes. It suffered from what Mr R. H. -Gin — a rnoucru piece oj sculpture 1 by Moore. 1 Help -Gin — a rnoucru piece oj sculpture 1 by Moore. 1 Wilenski, the noted art critic of tho London Observer, calls in "The Mean ing of Modern Sculpture," his new book, "a finality complex." It had a passion for clearing things up and having them nicely pigeon-holed. In regard to sculpture, the complex was apparently inherited from the past. Even in the 18th century it had taken the form of declaring that the last word in this branch of tho arts had been said by the Greeks and that nothing remained for sculptors but to admire and imitate their work. The Greek tradition gathered strength in England, especially after the importation there of the Townley, Lansdowno and Elgin marbles, until the pre-eminence of Hellenic sculpture became almost an article of religion, which none questioned. According to Mr Wilenski, the Greeks became a > sort of vested interest of archaeologists, professors and students, and resulted in a hopeless depression in creative sculpture! His aim in this book is to kill the deadening "Greek prejudice" and to install the creed of the modern sculptor in its place. For the original sculptor today Greek sculpture, if he can bo convinced that any authentic works remain, is no more important than tho Egyptian and Assy rian sculptures which preceded it or others which came after. T£R WILENSKI'S method is to attack the evidences on which students of Greek life and customs, from Winckcl- mann down and including our own Professor Tucker, havo based their judgment that Greek sculpture is su preme for all time. Most of these evidences are false, he asserts, or hypothetical! He doubts whether any genuine piece by the greatest Greek sculptors remains ex tant today. Phidias, Praxiteles, Myron and Polyclitus arc, he claims, for prac tical purposes, figments of the academic imagination. Of the work of Phidias, for example, the artist whopi Professor Thicker, among many other eminent students, has declared to be the greatest sculp tor the world has known, Mr Wilenski assorts that not one example is known or presumed to exist. The Elgin Marbles, he says, are not by his hand, nor was he the architect of the Par thenon. Mr Wilenski tells us that nil tho sculptures in various museums and collections, which bear the names of tho great Greeks, are either Roman copies or restorations, or later restor ations, copies or fakes. The successive invasions and sack ings of Greece, particularly by the Romans, left few works of sculpture intact in that country, and Mr Wil enski assumes that many of those which found their way to Italy were broken up or melted down. Others suffered the calamities of travel and shared in the later misfortunes of Rome itself. . ®y the 10th century Mr Wilenski thinks it unlikely that any single original bronze statue by a famous Greek of the fifth century B.C. rc- mmncd in existence. The figures on buildings like the Parthenon he dismisses as masons' work! In marble the only remains of the great sculptors must have been the buried fragments and those other fragments which hnd lost their identity in Roman restorations. ' yBOUT these restorations and those of later times Mr Wilenski has some interesting things to say. In ho 18th century apparently a vigprous business in restorations and fakes was carried on in Rome by a little group of Englishmen and others, including the sculptor, Nollekens, who revealed some of the secrets, particularly those of the manufacture of carved gems, from which a good deal of archaeo logical deduction has been made. Most of the Lansdowno marbles seem to have come from this source, Mr Wilenski apparently regards both the Venus de Mifo and the celebrated Victory of Samothrace, both now in the Louvre, as belonging to the class of dubious restorations which he re gards as artistically and historically of little more value than deliberate fakes. The Venus, he asserts, is a concoction of a number of fragments, cadi of a different kind of marble, and he hints darkly at the circumstances surround ing tho discovery of both it and the Victory. rpHE evidence offered by Mr Wilcn- A ski is certainly startling, and moat of those who, read his book will in evitably look with a certain amount : of suspicion on Greek sculpture when - next they meet it! This destructive preamble, under taken, not in any wanton spirit, is a prelude to the statement of the aims of modern sculpture, of which Mr Wilenski appears as the champion. For him the works of Zadklnc, Henry Moore, Epstein and Maurice Lambert ore more important than what he en deavors to convince us are only dubious remains .and echoes of the Greeks. Bv these remains, he claims, the work of original sculptors has been unfairly measured for too long. Mr Wilenski's statement of the modern sculptor's creed is Interesting, if not always convincing. THE MEANING OF MODERN SCULP TURE, by R. H. Wilenski. (Fober & Faher Ltd.) V -

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