Henry Moore, O.M., C.H. (1898-1986)

By dividing the figure into three separate pieces, Three Piece Reclining Figure: Maquette No. 5 demonstrates Moore's ability to represent the three-dimensionality of the human form. By separating these elements of the figure, Moore encourages the viewer to consider the spatial depth within the sculpture, and to explore the relationship between the solids and voids of the form. The specific placement of each section on the base creates a dynamic figure with great potential for movement.

Moore had first experimented with fully dividing his figures in the 1960s. He explained the development of the divided forms which make up his later reclining figures, 'I did the first one in two pieces almost without intending to. But after I had done it, then the second one became a conscious idea … Once these two parts become separated you don’t expect it to be a naturalistic figure; therefore you can justifiably make it look like a landscape or a rock. If it’s a single figure you can guess what it’s going to be like. If it’s in two pieces, there’s a bigger surprise, you have more unexpected views; therefore the special advantage over painting – of having the possibility of many different views – is more fully explored … Sculpture is like a journey. You have a different view as you return. The three-dimensional view is full of surprises in a way that a two-dimensional world could never be' (quoted in 'Henry Moore's World', Atlantic Monthly, January 1962).