Henry Moore

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A new Exhibition and book explore the intersecting careers of two renowned British artists of the 20Th Century : sculptors Henry Moore and photographer Bill Brandt .

The two artists, born in the space of Ten Years , were in the order of The British government in The 1930S ; Brandt , as a photojournalist, and Moore as A War artist.

you both have pictures of civilians, the refuge from The Blitz in the London Underground , which is seen during the second World War at the top.

A portrait of Henry Moore , 1948, by Bill Brandt (left), and a self-portrait of Bill Brandt , 1966 (on the right).

The new Exhibition at The Hepworth Wakefield - to examine how the two artists, The British landscape and its communities.

The Exhibition brings together More Than 200 works, including well-known sculptures and photographs, together with drawings, unprinted negatives, and photo-collages.

"Both artists had said a fascination and poetic sensibility for capturing The Spirit of the place", Simon Wallis, Director of Hepworth Wakefield .

"It is particularly poignant to the presentation of this Exhibition in West Yorkshire , where Henry Moore was born and grew up. "

Brandt and Moore met in 1942, when Brandt was commissioned, a portrait of Moore in his studio for a 10-page spread about The Artist in Lilliput magazine. The feature comparison of the two artists " - pictures of the lightning shelters.

Liverpool Street Extension, by Bill Brandt , 1940. Sleeping Shelterers: Two Women and a child, by Henry Moore , 1940.

"Both artists have developed a strikingly similar visual vocabulary of rootlessness, isolation, threat and vulnerability, the harbingers of pictures of larger terror made later in The War ," writes Courtney J Martin, the Director of the Yale Center for British Art, in a Foreword to the book by Bill Brandt | Henry Moore .

in the course of their career, they crossed over each other in the dominant creative medium. Moore used photography to showcase his work, and Brandt looked at the sculpture as a way of viewing the nature, the landscape and the human body.

Contact deduction details to screams Auguste Rodin 's man, 1877-78, photographed by Henry Moore , 1967.

In their Early Work , Brandt and Moore were drawn to document Ordinary People , work and home.

Brandt highlighted the social deprivation in The 1930S , Depression-era Britain, with its impressive photographs of the impoverished mining communities, and families in the North of England .

Coal Miner's Bath, Chester-le-Street, Durham, Bill Brandt , 1937. Coal-miners ' houses without Windows to The Street , Bill Brandt , 1937. Northumbrian miner at his evening meal, the by Bill Brandt , 1937. Slag-Heap and miners ' cottages, Shotton, in the vicinity of Boldon Colliery, East Durham, Bill Brandt , 1937.

Moore was one of eight children in a mining family in Castleford, a mining town in Yorkshire, a place he would later document the sketch to The War .

A common theme for Moore, the representation of family groups, both as sculptures and drawings, a theme, starting with his early drawings of families in shelters during The Blitz . was

In the 1950s, Moore had, in a series of works that uses groupings of figures, the drawings at his house.

Six studies for groups or families, from Henry Moore , 1948. Family group, by Henry Moore , in 1944. Sculpture and Red Rocks , Henry Moore , 1942.

According to the urban subjects, Brandt , and Moore is shown during The War , The Artist , the later-to-nature sources of inspiration.

they were interested in rock formations, geological artefacts and megalithic sites such as Stonehenge and Avebury .

in fact, Moore let it be known that he mined sculptures with stone in the UK.

Avebury , Bill Brandt , 1963.

The Exhibition Bill Brandt | Henry Moore is up to 31. The book is published by Yale University Press .

photography

Source of news: bbc.com