Madonna and Child

细节

Henry Moore, O.M., C.H. (1898-1986)
Madonna and Child
signed and numbered 'Moore 1/6' (on the back of the seat) and stamped with the foundry mark 'NOACK BERLIN'
bronze with a brown patina
6¼ in. (15.8 cm.) high, excluding marble and black-painted wooden base
Conceived in 1943 and cast in an edition of 6 in 1955.

来源

Acquired by the present owners at the 1966 exhibition.

出版

D. Sylvester (ed.), Henry Moore Sculpture and Drawings 1921-48 Volume 1, London, 1969, p. 13, no. 219, the terracotta illustrated.
Exhibition catalogue, Henry Moore, London, Marlborough Fine Art, 1966, illustrated.

展览

London, Marlborough Fine Art, Henry Moore, July - August 1966, no. 9.

注意事项

VAT rate of 5% is payable on hammer price and at 15% on the buyer's premium

拍品专文

Discussing the Madonna and Child theme in his work, Henry Moore wrote 'When I was first asked to carve a 'Madonna and Child' for St Matthew's [1943-4, The Church of St Matthew, Northampton], although I was very interested I wasn't sure whether I could do it, or whether I even wanted to do it. One knows that Religion has been the inspiration of most of Europe's greatest painting and sculpture, and that the Church in the past has encouraged and employed the greatest artists; but the great tradition of religious art seems to have got lost completely in the present day, and the general level of church art has fallen very low (as anyone can see from the affected and sentimental prettiness sold for church decoration in church art shops). Therefore I felt it was not a commission straightaway and light heartedly to agree to undertake, and I could only promise to make note-book drawings from which I would do small clay models [including the terracotta from which the present work was cast], and only then should I be able to say whether I could produce something which would be satisfactory as sculpture and also satisfy my idea of the 'Madonna and Child' theme as well.

There are two particular motives or subjects which I have constantly used in my sculpture in the last twenty years; they are the 'Reclining Figure' idea and the 'Mother and Child' idea. (Perhaps of the two the 'Mother and Child' has been the more fundamental obsession). I began thinking of the 'Madonna and Child' for St Matthew's considering in what ways a 'Madonna and Child' differs from a carving of just a 'Mother and Child' - that is, by considering how in my opinion religious art differs from secular art.

It's not easy to describe in words what this difference is, except by saying in general terms that the 'Madonna and Child' should have an austerity and a nobility, and some touch of grandeur (even hieratic aloofness) which is missing in the everyday 'Mother and Child' idea. Of the sketches and models I have done, the one chosen has I think a quiet dignity and gentleness. I have tried to give a sense of complete easiness and repose, as though the Madonna could stay in that position for ever (as being in stone, she will have to do)' (quoted in D. Sylvester, op. cit., p. XXV).