HENRY MOORE, O.M., C.H. (1898-1986)

In 1956-57, Moore was developing ideas for the Paris UNESCO building commission. In his monograph on Moore from 1960, Will Grohmann writes eloquently on the combination of classical serenity and timeless strength projected by many of Moore’s seated figures from this period, as well as their suitability for display in public places:

‘Repose as waiting and respose as the springboard for movement, sitting as an expression of composure, as in the case of the archaic Greek goddesses, and sitting as an expressions of the moment before rising, jumping up, going into action – this is the human aspect. Like the 'Reclining Figure' outside the 'Time and Life' building, the relaxed figures tend towards the classical […] But whereas the classical figures of that period have a touch of the Maidens from the Acropolis, of the Greek Korai, the 'Seated Figures' belong to our own day and age; they are superior, modern beings, guardians of a university, a museum or a public square’ (W. Grohmann, The Art of Henry Moore, London, 1960, p. 229).


For additional information about the Foundation Mireille and James Lévy, please see the introduction to lot 176.