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Henry Moore O.M., C.H.
(British, 1898-1986)
Reclining Figure on Pedestal
signed and numbered
'Moore 6/9' (on the base)
bronze with a green patina 130 cm. (51 1/4 in.) high Conceived in 1959-60 All rights reserved. |
The device of an integral pedestal had been used by Moore on a number of occasions previously. Works as early as 'Reclining Figure', (1929) are positioned on top of a pedestal of raw stone. The largest and most defined pedestal predating 1959 is the famous UNESCO 'Reclining Figure', completed over the three years prior to 'Reclining Figure on a Pedestal'. The theme of the reclining nude obsessed Moore and played a central role in the development of his sculpture throughout his career as an artist. He defined his own persona as an artist not so much by endless variety as by his ability to return to a familiar motif and make it new. In so doing, he renewed himself. Moore commented on his fascination with the recumbent form: 'I want to be quite free of having to find a 'reason' for doing the Reclining Figures, and freer still of having to find a 'meaning' for them. The vital thing for an artist is to have a subject that allows [him] to try out all kinds of formal ideas, things that he doesn't yet know about for certain but wants to experiment with, as Cézanne did in his 'Bathers' series. In my case the reclining figure provides chances of that sort. The subject-matter is given. It's settled for you, and you know it and like it, so that within it, within the subject that you've done a dozen times before, you are free to invent a completely new form-idea.'
Moore once pointed to the maternal element of his Reclining Figures, referring to both womanhood and Mother Earth. The horizontal configuration of 'Reclining Figure on a Pedestal' (1959-60) identifies the female form with undulating landscape and natural forms, in contrast to the Orientalist tradition of the recumbent nude. The cave and arch-like shapes produce a pushing and pulling effect, creating an organic rhythm within the work. Moore allowed these natural forms to evolve in his sculpture, often sourcing inspiration directly from nature in the form of shells, bones, rocks and stones. Its status as a monumental piece of sculpture is greatly accentuated by the inclusion of the 'pedestal', which serves to raise the figure close to eye level with the viewer. The base is solid, three dimensional and yet in parts natural, with its bottom edge cleverly mirroring the arch forms of the underside of the figure it supports. This organic element is reinforced by the sculpture's arresting patina, a beautiful mottled green which recalls Moore's attachment to the land. Whilst the bronze is large in scale, Moore introduces exquisite delicate touches to the surface which brings to mind the human aspect of the piece. This is most obvious when looking at the sitter's face; two small perfectly incised hollows denote the eyes and a very shallow, curved incised line depicts the mouth, creating simple yet effective features. 'Reclining Figure on a Pedestal' is a sculpture which demonstrates an artist working at the height of his powers, one who is in total control of his medium. The importance and appeal of the work is apparent by its inclusion in three outstanding public art gallery permanent collections, on three different continents (South America, North America and Europe).
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