Cover image for The life of Henry Moore
The life of Henry Moore
Berthoud, Roger, 1934-2013.
Personal Author:
Second revised and updated edition.
Publication Information:
London : Giles de la Mare, [2003]

Physical Description:
xvii, 542 pages : illustrations, portraits ; 24 cm
General Note:
Previous ed.: London: Faber, 1987.
Personal Subject:
Format :


Call Number
Material Type
Home Location
Item Holds
NB497.M6 B47 2003 Adult Non-Fiction Central Closed Stacks

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Henry Moore's rise from Yorkshire miner's son to international acclaim as the 20th century's greatest sculptor is one of the most remarkable stories in British art. In this handsomely illustrated second edition ofThe Life of Henry Moore,Roger Berthoud charts Moore's transition from controversial young modernist to celebrated pillar of the art world establishment. Drawing on his weekly interviews with the sculptor as well as a mass of material, including early letters and interviews with Moore's friends and associates, Berthoud gives us a lively, balanced, definitive portrait of Henry Moore's long life and career. Roger Berthoud, former arts journalist for theTimesand theIndependent,is also the author of the definitive biography of Graham Sutherland.

Reviews 4

Booklist Review

The authorized biography of the late British sculptor appears with the approval of the subject (granted four years before his death in 1986) but without the author's full access to all the archival material, particularly to those documents that concern Moore's career before the 1950s. As a friend and neighbor of the sculptor and his family, Berthoud is able to capture at close quarters the reclusive and unpretentious personality that sheltered one of the most commanding artistic minds of his age. But Berthoud also probes Moore's often unrealized complexities and contradictions, which leads to a richer, more ambiguous portrait. It is this inner tension that receives expression in the sculptor's works and that bridges not only Moore's life and career but, more significantly, the cultural history of the twentieth century as well. Berthoud is also the author of Graham Sutherland: A Biography (Booklist 79:16 S 1 82). Notes and bibliography; index. JB. 730'.92 Moore, Henry / Sculptors England Biography [OCLC]

Publisher's Weekly Review

How do we reconcile Moore, the creator of universal icons, with Moore, the down-to-earth Yorkshire rustic who summed up his WW I experience as a soldier in these superficial words: ``For me the war passed in a romantic haze of hoping to be a hero''? In tracing the sculptor's evolution from protected, mother-bound child to hewer of archetypal forms who learned from surrealism even as he was forging his own abstract style, Berthoud never fully explains the incongruity. Written with Moore's approval and cooperation before his death in 1985, this first full biography offers a balanced, engrossing appraisal of the sculptor's work, even though it sometimes verges on becoming a career recitation. Praising Moore's sculpture became a form of evangelism for the cause of modern art and for postwar Britain. Berthoud (Graham Sutherland) cuts through the hype to explain how Moore became receiver and transmitter of signals from suffering humanity, in an art at once tribal and individual. (November) (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

Though it is dangerous to call any artist "the greatest," certain figures cry out for such appellations. In the 20th century, Picasso, through the force of his personality as well as his work, can bear the weight of "the greatest artist," and, as Berthoud amply demonstrates in this update to his 1987 biography, Henry Moore can be called "the greatest sculptor." Berthoud (Graham Sutherland: A Biography), an art writer and editor for numerous British publications, traces Moore's rise from Yorkshire miner's son to doyen of the international art world in extensive detail. Moore's life and art are both explored, and his relationships with his wife and daughter, friends, and patrons show the sculptor as a lively, always engaging, and occasionally prickly personality. The biography includes an extensive chronology of the activities of the Henry Moore Foundation since Moore's death in 1982. This greatly expanded and revised version of the 1987 edition is a necessary purchase for collections with an interest in 20th-century art. Highly recommended.-Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Moore (1898-1986) produced the most recognizably "modern" sculptures of the 20th century, so much so that they appear in cartoons. Whether a mother and child, a reclining nude, or bone-like forms arranged horizontally evoking both figure and landscape, each of Moore's sculptures of wood, stone, or bronze possess a signature look that frequently includes a hole. As Berthoud's long biography (1st ed., 1987) points out, Moore's engagement with the history of sculpture--especially that of Michelangelo and Egyptian, African, Pre-Columbian, Mexican, and Northwestern cultures--as well as with modernism in art and literature, formed his appetite for what Moore called "universal shapes" that are "an expression of the significance of life." Moore's life, his origins in a mining community, his endurance of two world wars, his loves and friends, and his exhibitions are ably recounted and illustrated with photographs. His art, however, accompanies the life with lots of illustrations and minimal analysis. Use of Moore's theoretical writings illuminates, but a familiarity with his contemporaries is presupposed. Berthoud briefly suggests that Moore's close care of his arthritic mother as a youth may account for his life-long artistic obsession with maternal forms. More of this analysis is needed throughout. ^BSumming Up: Recommended. General readers; lower- and upper-division undergraduates. J. Simon University of Georgia

Table of Contents

Acknowledgementsp. viii
Preludep. xii
Chapter I Childhood and school 1898-1916p. 1
Chapter II Briefly to war 1917 to early 1919p. 21
Chapter III Art student in Leeds 1919-21p. 35
Chapter IV Student in London and abroad 1921-5p. 46
Chapter V Public debuts and teaching 1925-8p. 72
Chapter VI Marriage and a masterpiece 1929-31p. 97
Chapter VII Hampstead, Chelsea and Kent 1931-6p. 123
Chapter VIII Surrealism, constructivism and socialism 1936-9p. 154
Chapter IX Shelter drawings and the Northampton Madonna 1940-4p. 186
Chapter X Via New York and Venice to international fame 1945-8p. 225
Chapter XI Execration and celebration 1949-51p. 252
Chapter XII Anthology pieces, and a trip to Mexico 1952-4p. 275
Chapter XIII Unesco, New Zealand and Auschwitz 1956-8p. 298
Chapter XIV Good causes, big dealers, and Caro's thrust 1959-62p. 322
Chapter XV The Lincoln Center piece 1962-5p. 341
Chapter XVI Toronto and the Tate Gift 1965-74(i)p. 365
Chapter XVII Towards apotheosis in Florence 1965-72(ii)p. 387
Chapter XVIII Becoming an institution 1973-9p. 423
Chapter XIX Pain and good works 1980-6p. 462
Chronology of main events involving the Henry Moore Foundation since Henry Moore's death in 1986p. 499
Appendix The value of money 1898-1986p. 504
Short bibliographyp. 506
Notesp. 509
Acknowledgements for photographsp. 530
Indexp. 532