For this task I must annotate an image of a Henry Moore figure sculpture.
The art work that I have selected for further study is: Draped Seated Woman, 1957-58 by Henry Moore. I was attracted to this particular sculpture as I viewed it in June 2014 at the Yorkshire Sculpture Park.
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Draped Seated Woman,1957-58, bronze, Henry Moore.
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A spider diagram of analysis of Draped Seated Woman, by Henry Moore, created 27th March 2016.
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A spider diagram of analysis of Draped Seated Woman, by Henry Moore, created 27th March 2016.
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Ten Seated Figures, 2010, cast iron, by Magdalena Abakanowicz.
Process and Technique
- Draped Seated Woman is a life size bronze sculpture of a reclining female figure wrapped in a Grecian style dress.
- I believe it was made by modelling the figure in plaster first to create a mould. Then it was recast in bronze.
- I think the artist’s hand move slowly and considerately during the modelling stage, in order to achieve the most pleasing results. There is an obvious asymmetry in the work which is as a result of his preference for asymmetrical sculptures which provide many different viewpoints.
- I think the sculpture would have taken some time as it would have undergone many different stages. In fact the artist developed this particular sculpture from a maquette, then a plaster version through to the final finished bronze.
- I think Moore would have required assistance to help him cast Draped Seated Woman in bronze as it is a challenging process pouring molten bronze into a plaster cast of this size.
- It is displayed on a substantial stepped plinth for greater majesty and to give the impression of the figure surveying her surroundings like a goddess from a great height.
Interpretation
In this art work I believe that the artist is presenting a majestic female figure in the style of the ancient Greek Hellenistic works of art. The art work was created during the late 1950s, a time when it was difficult for the artist to sell his work. Non-representational/abstract art was frowned upon and his work was often parodied in the press as it avoided easy-categorisation.
Nevertheless, I think the artist was influenced by the Mexican and primitive art which he viewed at the British Museum. His contemporaries were chiefly concerned with studying works from the Renaissance to the present day, whereas Moore preferred the work of earlier periods as it seemed more sincere and was less concerned with merely copying what had preceded it.
The artist was influenced by a number of individuals who he encountered over the course of his studies both at The Royal College of Art and at the studio of the artist Leon Underwood. At Underwood’s studio he encountered Mexican and African sculptures which Underwood had collected on his travels.
During this time he also met Jacob Epstein who encouraged him to visit the British Museum to look at their collections of primitive sculptures. Both of these experiences had lasting impacts on his work as they helped him develop a very personal approach to the making of sculpture. His interest in these works also reinforced his desire to chisel directly at the surface of the plaster in order to create his sculptures rather than using a pointing machine. This freedom allowed for spontaneity in his works and produced an effect which was more in keeping with the primitive Mexican and African sculptures that he amassed in his own collections of found objects and curios.
Draped Seated Woman was definitely intended to be a piece of art rather than a ceremonial statue, as Moore’s intention was to create works of art which were true to his own personal aims and objectives.
I think Moore’s works are equally at home in an art gallery or in a field. Although in my opinion Draped Seated Woman seems refreshingly original as it is situated within the confines of the sculpture park. In my opinion the peripheral information of the sheep grazing in the field enhances the beauty of the bronze and allows the spirit of the sculpture to shine. The one thing all of his works have in common is that they are positioned so that one can survey them from many different viewpoints. In fact every angle provides a new view and in the domain of the park Draped Seated Woman seems completely at ease with her surroundings. On a sunny day the female figure could be immortalised as a shepherdess overseeing her livestock.
Draped Seated Woman is of a completely different style to another work which was on display in the Sculpture Park entitled: Ten Seated Figures, by Magdalena Abakanowicz. Abakanowicz’s work features a series of ten metallic seated figures presented in a line proceeding from a tree across a field. It is a powerful work due to the uniformity of the figures and their upright postures. The implication is one of fear and oppression, due to the stiff gesture of the pose and the seeming lack of individuality between the figures. In fact each figure has been customised by the artist to represent the individual’s struggle for freedom in a country which was brutally oppressed by the Soviets after WWII. Her work explores the anxiety of crowds and the Polish people’s struggle for liberty and their determination to resist their oppressors. Her work can be seen as a metaphor for the importance of standing up to violent and oppressive regimes in order to retain one’s dignity.
The ways in which Moore’s work is similar to her piece Ten Seated Figures is that his sculpture was carved by hand and is thus imbued with the tactile qualities employed by the artist. The metallic qualities of the materials used show how results can vary hugely according to the skill of the artist and the effects that they wish to create.
Also both works have a great strength, physical presence and a dominant spirit which seems to emanate from within the works.
The ways in which they differ are that Moore’s work possesses a calm and dignified feel whereas Abakanowicz explores ideas of aggression and oppression in light of any resistance being shown. Also, Abakanowicz’s piece is emblematic of the tense political situation in Poland during the Soviet era – a time when it was difficult to show any individuality or freedom of thought or expression.
I think the location for Moore’s sculpture is ideal as it is situated within a broad expanse of land on a hill which extends for several miles in many directions. The work itself can be appreciated up close and from afar as there are no fences to prevent the spectator from taking a closer examination.
Evaluation
I can certainly classify the artwork as a large figurative sculpture with both European and primitive influences. The female figure is abstracted to an extent (the proportions do not conform to nature), however what is shown is recognisable and beautiful nonetheless. The figure is a symbol for the art of earlier and simpler times and when basic tools were used to create art works which came from the heart and reflected the true spirit.
I believe that the figure presented to us is a mother-goddess or “earth mother” (Tate, n.d.), type of figure due to her generous form and her strength of character. Mother goddess figures have been popular since pre-historic times and have been unearthed all over Europe and the Middle East. These figures were originally used as fertility charms to enable women to carry their babies to term and to give birth safely.
The subject of the mother goddess is familiar to me as I have studied the famous Venus of Willendorf, which was discovered in Austria. It is believed to originate in Turkey/Syria, places which have long associations with the cult of the Mother Goddess and various fertility rites. Like the Venus of Willendorf, Moore’s interpretation is curvaceous and dignified.
It seems to me that the sculpture could be recast in many different materials as the artist loved to immortalise his works in different ways. Although I think this is his most successful attempt as the patina enhances the spiritual qualities of the figure and helps it to blend within its environs.
In my view the artwork is best seen in the Sculpture Park as one can meander around it, breathing the fresh air and stepping back to contemplate its mysteries.
Bibliography
Artdaily.org. (1996-2013) UK premiere of work by Polish artist Magdalena Abakanowicz at Yorkshire Sculpture Park. Available from: http://artdaily.com/news/51228/UK-premiere-of-work-by-Polish-artist-Magdalena-Abakanowicz-at-Yorkshire-Sculpture-Park#.Vvg7l-IrJdg [Accessed 27th March 2016]
Magdalena Abakanowicz. (n.d.) About Magdalena Abakanowicz. Available from: http://www.abakanowicz.art.pl/about/-about.php.html [Accessed 27th March 2016]
Tate. (n.d.) Henry Moore: Sculptural Process and Public Identity. Available from: http://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-om-ch-draped-seated-woman-r1172099 [Accessed 27th March 2016]
University of Oxford, Classical Art Research Centre. (1997-2013) Hellenistic sculpture. Available from: https://www.beazley.ox.ac.uk/sculpture/styles/hellenistic.htm [Accessed 27th March 2016]
University of Oxford, Classical Art Research Centre. (1997-2013) The Classical period (5th – 4th century BC). Available from: https://www.beazley.ox.ac.uk/sculpture/styles/classical.htm [Accessed 27th March 2016]
University of Oxford, Classical Art Research Centre. (1997-2013) Deities. Available from: https://www.beazley.ox.ac.uk/sculpture/styles/hellenistic1.htm [Accessed 27th March 2016]
visual-arts-cork.com. (n.d.) The Venus of Willendorf (25,000 BCE). Available from: http://www.visual-arts-cork.com/prehistoric/venus-of-willendorf.htm [Accessed 27th March 2016]
Yorkshire Sculpture Park. (n.d.) Magdalena Abakanowicz. Available from: http://www.ysp.co.uk/exhibitions/magdalena-abakanowicz [Accessed 27th March 2016]
Yorkshire Sculpture Park. (n.d.) Magdalena Abakanowicz – Bronze Figures. Available from: http://www.ysp.co.uk/exhibitions/magdalena-abakanowicz-bronze-figures [Accessed 27th March 2016]
Lucy Dean 