Henry Moore</a> Family Collection’ is the gallery’s second presentation of <a target="_blank" href=https://www.mutualart.com/Exhibition/Works-on-Paper-from-the-Henry-Moore-Fami/"/Artist/Henry-Moore/0D40BF4906140FD3">works by Henry Moore</a>, following our 2008 exhibition ‘Ideas for Sculpture’ held at Hauser & Wirth London. The exhibition includes works ranging from Moore’s sensitive and sublime studies of the human body to his wartime ‘Shelter Drawings’ and exploratory ‘Ideas for Sculpture’, spanning six decades of the artist’s career. ‘Works on Paper from the Henry Moore Family Collection’ provides a rare opportunity to see a group of works that beautifully presents the significance of Moore’s drawings in his oeuvre, as well as capturing Moore’s skill as an impeccable draughtsman.<br><br>
Moore once said, ‘Drawing from life keeps one visually fit – perhaps acts like water to a plant – and it lessens the danger of repeating oneself and getting into a formula’. Moore used his drawings to evolve pre-existing motifs, working through different approaches and views, trying to find the most exciting display in what developed into a Darwinian artistic process. These drawings, such as ‘Standing Figures and Ideas for Sculpture’ (c.1948), are packed with quick studies and odd experimental forms, organised in rows and columns and sometimes drawn in bright pinks, blues, greens and orange. <br><br>
Constantly looking for sources of inspiration, Moore would often walk along the Cornish seaside and visualise human forms in the landscape and his immediate surroundings. On one of his walks, Moore picked up a pebble and saw in it a wounded soldier, a subject that would dominate his works during the late 1940s and early 1950s and that he would develop in a series of studies and drawings, such as ‘Helmet Heads’ (1950-1951). In much of his work, Moore portrayed the melding of human figure with natural forms, as in ‘Reclining Figure: Peapod (verso)’ (c.1979). These drawings are a mixture of imagination and observation, pulled from objects in his surroundings and his personal thoughts. <br><br>
In 1946, Moore’s only child Mary was born, adding a new poignancy to his Mother and Child works, a subject that Moore explored throughout his career. These beautiful studies move away from the process-based and into the personal, allowing the viewer an image of Moore not as a world-renowned artist but as a proud new father, looking at his wife and newborn baby girl. Works such as ‘Two Hands and Parent holding Child’s Hand’ show a delicate, sensitive approach with soft, white and grey washes providing a backdrop to a repeating study of a small toddler’s hand trying to grip onto the hand of their parent.<br><br>
Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone. With these works on paper, Moore was not drawing simply as an exercise. Instead, the artist was drawing for ‘the pleasure of looking more intently and intensely’, emphasising that these works on paper are not simply sketches, but instead illustrate important stages in Moore’s development as a draughtsman and sculptor.<br><br>
Henry Moore’s drawings will be shown on the upper floors of our Zurich gallery in tandem with an exhibition of sculptures by Swiss artist Hans Josephsohn.<br><br>
This exhibition coincides with the release of the Hauser & Wirth publication, ‘Henry Moore – Ideas for Sculpture’, published by JRP | Ringier, as well as the much anticipated major exhibition at Tate Britain which runs until 8 August 2010.<br>" />
Works on Paper from the Henry Moore Family Collection
Mar 27, 2010 - May 29, 2010
Hauser & Wirth is delighted to present an extraordinary body of works curated directly with members of the Moore family. ‘Works on Paper from the Henry Moore Family Collection’ is the gallery’s second presentation of works by Henry Moore, following our 2008 exhibition ‘Ideas for Sculpture’ held at Hauser & Wirth London. The exhibition includes works ranging from Moore’s sensitive and sublime studies of the human body to his wartime ‘Shelter Drawings’ and exploratory ‘Ideas for Sculpture’, spanning six decades of the artist’s career. ‘Works on Paper from the Henry Moore Family Collection’ provides a rare opportunity to see a group of works that beautifully presents the significance of Moore’s drawings in his oeuvre, as well as capturing Moore’s skill as an impeccable draughtsman.
Moore once said, ‘Drawing from life keeps one visually fit – perhaps acts like water to a plant – and it lessens the danger of repeating oneself and getting into a formula’. Moore used his drawings to evolve pre-existing motifs, working through different approaches and views, trying to find the most exciting display in what developed into a Darwinian artistic process. These drawings, such as ‘Standing Figures and Ideas for Sculpture’ (c.1948), are packed with quick studies and odd experimental forms, organised in rows and columns and sometimes drawn in bright pinks, blues, greens and orange.
Constantly looking for sources of inspiration, Moore would often walk along the Cornish seaside and visualise human forms in the landscape and his immediate surroundings. On one of his walks, Moore picked up a pebble and saw in it a wounded soldier, a subject that would dominate his works during the late 1940s and early 1950s and that he would develop in a series of studies and drawings, such as ‘Helmet Heads’ (1950-1951). In much of his work, Moore portrayed the melding of human figure with natural forms, as in ‘Reclining Figure: Peapod (verso)’ (c.1979). These drawings are a mixture of imagination and observation, pulled from objects in his surroundings and his personal thoughts.
In 1946, Moore’s only child Mary was born, adding a new poignancy to his Mother and Child works, a subject that Moore explored throughout his career. These beautiful studies move away from the process-based and into the personal, allowing the viewer an image of Moore not as a world-renowned artist but as a proud new father, looking at his wife and newborn baby girl. Works such as ‘Two Hands and Parent holding Child’s Hand’ show a delicate, sensitive approach with soft, white and grey washes providing a backdrop to a repeating study of a small toddler’s hand trying to grip onto the hand of their parent.
Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone. With these works on paper, Moore was not drawing simply as an exercise. Instead, the artist was drawing for ‘the pleasure of looking more intently and intensely’, emphasising that these works on paper are not simply sketches, but instead illustrate important stages in Moore’s development as a draughtsman and sculptor.
Henry Moore’s drawings will be shown on the upper floors of our Zurich gallery in tandem with an exhibition of sculptures by Swiss artist Hans Josephsohn.
This exhibition coincides with the release of the Hauser & Wirth publication, ‘Henry Moore – Ideas for Sculpture’, published by JRP | Ringier, as well as the much anticipated major exhibition at Tate Britain which runs until 8 August 2010.
Moore once said, ‘Drawing from life keeps one visually fit – perhaps acts like water to a plant – and it lessens the danger of repeating oneself and getting into a formula’. Moore used his drawings to evolve pre-existing motifs, working through different approaches and views, trying to find the most exciting display in what developed into a Darwinian artistic process. These drawings, such as ‘Standing Figures and Ideas for Sculpture’ (c.1948), are packed with quick studies and odd experimental forms, organised in rows and columns and sometimes drawn in bright pinks, blues, greens and orange.
Constantly looking for sources of inspiration, Moore would often walk along the Cornish seaside and visualise human forms in the landscape and his immediate surroundings. On one of his walks, Moore picked up a pebble and saw in it a wounded soldier, a subject that would dominate his works during the late 1940s and early 1950s and that he would develop in a series of studies and drawings, such as ‘Helmet Heads’ (1950-1951). In much of his work, Moore portrayed the melding of human figure with natural forms, as in ‘Reclining Figure: Peapod (verso)’ (c.1979). These drawings are a mixture of imagination and observation, pulled from objects in his surroundings and his personal thoughts.
In 1946, Moore’s only child Mary was born, adding a new poignancy to his Mother and Child works, a subject that Moore explored throughout his career. These beautiful studies move away from the process-based and into the personal, allowing the viewer an image of Moore not as a world-renowned artist but as a proud new father, looking at his wife and newborn baby girl. Works such as ‘Two Hands and Parent holding Child’s Hand’ show a delicate, sensitive approach with soft, white and grey washes providing a backdrop to a repeating study of a small toddler’s hand trying to grip onto the hand of their parent.
Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone. With these works on paper, Moore was not drawing simply as an exercise. Instead, the artist was drawing for ‘the pleasure of looking more intently and intensely’, emphasising that these works on paper are not simply sketches, but instead illustrate important stages in Moore’s development as a draughtsman and sculptor.
Henry Moore’s drawings will be shown on the upper floors of our Zurich gallery in tandem with an exhibition of sculptures by Swiss artist Hans Josephsohn.
This exhibition coincides with the release of the Hauser & Wirth publication, ‘Henry Moore – Ideas for Sculpture’, published by JRP | Ringier, as well as the much anticipated major exhibition at Tate Britain which runs until 8 August 2010.
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Hauser & Wirth is delighted to present an extraordinary body of works curated directly with members of the Moore family. ‘Works on Paper from the Henry Moore Family Collection’ is the gallery’s second presentation of works by Henry Moore, following our 2008 exhibition ‘Ideas for Sculpture’ held at Hauser & Wirth London. The exhibition includes works ranging from Moore’s sensitive and sublime studies of the human body to his wartime ‘Shelter Drawings’ and exploratory ‘Ideas for Sculpture’, spanning six decades of the artist’s career. ‘Works on Paper from the Henry Moore Family Collection’ provides a rare opportunity to see a group of works that beautifully presents the significance of Moore’s drawings in his oeuvre, as well as capturing Moore’s skill as an impeccable draughtsman.
Moore once said, ‘Drawing from life keeps one visually fit – perhaps acts like water to a plant – and it lessens the danger of repeating oneself and getting into a formula’. Moore used his drawings to evolve pre-existing motifs, working through different approaches and views, trying to find the most exciting display in what developed into a Darwinian artistic process. These drawings, such as ‘Standing Figures and Ideas for Sculpture’ (c.1948), are packed with quick studies and odd experimental forms, organised in rows and columns and sometimes drawn in bright pinks, blues, greens and orange.
Constantly looking for sources of inspiration, Moore would often walk along the Cornish seaside and visualise human forms in the landscape and his immediate surroundings. On one of his walks, Moore picked up a pebble and saw in it a wounded soldier, a subject that would dominate his works during the late 1940s and early 1950s and that he would develop in a series of studies and drawings, such as ‘Helmet Heads’ (1950-1951). In much of his work, Moore portrayed the melding of human figure with natural forms, as in ‘Reclining Figure: Peapod (verso)’ (c.1979). These drawings are a mixture of imagination and observation, pulled from objects in his surroundings and his personal thoughts.
In 1946, Moore’s only child Mary was born, adding a new poignancy to his Mother and Child works, a subject that Moore explored throughout his career. These beautiful studies move away from the process-based and into the personal, allowing the viewer an image of Moore not as a world-renowned artist but as a proud new father, looking at his wife and newborn baby girl. Works such as ‘Two Hands and Parent holding Child’s Hand’ show a delicate, sensitive approach with soft, white and grey washes providing a backdrop to a repeating study of a small toddler’s hand trying to grip onto the hand of their parent.
Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone. With these works on paper, Moore was not drawing simply as an exercise. Instead, the artist was drawing for ‘the pleasure of looking more intently and intensely’, emphasising that these works on paper are not simply sketches, but instead illustrate important stages in Moore’s development as a draughtsman and sculptor.
Henry Moore’s drawings will be shown on the upper floors of our Zurich gallery in tandem with an exhibition of sculptures by Swiss artist Hans Josephsohn.
This exhibition coincides with the release of the Hauser & Wirth publication, ‘Henry Moore – Ideas for Sculpture’, published by JRP | Ringier, as well as the much anticipated major exhibition at Tate Britain which runs until 8 August 2010.
Moore once said, ‘Drawing from life keeps one visually fit – perhaps acts like water to a plant – and it lessens the danger of repeating oneself and getting into a formula’. Moore used his drawings to evolve pre-existing motifs, working through different approaches and views, trying to find the most exciting display in what developed into a Darwinian artistic process. These drawings, such as ‘Standing Figures and Ideas for Sculpture’ (c.1948), are packed with quick studies and odd experimental forms, organised in rows and columns and sometimes drawn in bright pinks, blues, greens and orange.
Constantly looking for sources of inspiration, Moore would often walk along the Cornish seaside and visualise human forms in the landscape and his immediate surroundings. On one of his walks, Moore picked up a pebble and saw in it a wounded soldier, a subject that would dominate his works during the late 1940s and early 1950s and that he would develop in a series of studies and drawings, such as ‘Helmet Heads’ (1950-1951). In much of his work, Moore portrayed the melding of human figure with natural forms, as in ‘Reclining Figure: Peapod (verso)’ (c.1979). These drawings are a mixture of imagination and observation, pulled from objects in his surroundings and his personal thoughts.
In 1946, Moore’s only child Mary was born, adding a new poignancy to his Mother and Child works, a subject that Moore explored throughout his career. These beautiful studies move away from the process-based and into the personal, allowing the viewer an image of Moore not as a world-renowned artist but as a proud new father, looking at his wife and newborn baby girl. Works such as ‘Two Hands and Parent holding Child’s Hand’ show a delicate, sensitive approach with soft, white and grey washes providing a backdrop to a repeating study of a small toddler’s hand trying to grip onto the hand of their parent.
Throughout his career, Moore utilised a wide range of techniques and media, such as line drawing and cross-hatching, gouache, chalk and crayon, to bring two-dimensional forms to life, creating impressions of movement and radiance and carving human forms from a sheet of paper in a similar fashion to the way in which he carved expressive forms from slabs of stone. With these works on paper, Moore was not drawing simply as an exercise. Instead, the artist was drawing for ‘the pleasure of looking more intently and intensely’, emphasising that these works on paper are not simply sketches, but instead illustrate important stages in Moore’s development as a draughtsman and sculptor.
Henry Moore’s drawings will be shown on the upper floors of our Zurich gallery in tandem with an exhibition of sculptures by Swiss artist Hans Josephsohn.
This exhibition coincides with the release of the Hauser & Wirth publication, ‘Henry Moore – Ideas for Sculpture’, published by JRP | Ringier, as well as the much anticipated major exhibition at Tate Britain which runs until 8 August 2010.
Artists on show
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Christophe Guye Galerie</a> is thrilled to announce an exhibition of works by Swiss photographer Balthasar <a target="_blank" href=https://www.mutualart.com/Exhibition/Works-on-Paper-from-the-Henry-Moore-Fami/"/Artist/Balthasar-Burkhard/9BEA10E90B192277">Burkhard (1944-2010, Switzerland) in Kabinet II of the gallery. Burkhard was an outstanding photographer who worked as both a documentary and artistic photographer from the 1960s onwards. After his training with Kurt Blum and his first commissions - for example as a documentary photographer for the Kunsthalle Bern under Harald Szeemann - he developed pioneering works such as the ‘Photocanvases’, in which photographs were exposed directly onto canvases. His work, which moves between photography, sculpture, object and painting, is characterised by clear, reduced black and white pictures.</p><p>A formative phase in Burkhardt's career was his time in the United States, particularly in Chicago. From 1976 to 1978, he combined his teaching activities as a guest lecturer at the University of Illinois with intensive artistic projects that reflected the urban pulse of the metropolis in his work. He developed innovative approaches that combined the clear reduction of his visual language with the documentary power of urban life. His large-format black and white pictures from this period capture not only architectural details, but also the dynamic movement and metropolitan rhythm. From this creative period, the gallery is showing ‚Backseat', 1977, one of Burkhard's most impressive pictures.</p><p>In the 1980s, the human body became the focus of his work, while at the same time he staged nature motifs, urban spaces, architectural projects and abstract compositions. His exploration of Asian aesthetics - inspired by Tanizaki, among others - led to intensively designed images of gardens, temples and cultural symbols. His artistic work was also characterised by his experimentation with different image carriers, such as the combination of black and white photographs with colour panels or the creation of huge series of flags.</p><p>Burkhard was widely recognised internationally: he had numerous solo and group exhibitions, including in Geneva, Chicago, Basel, Strasbourg, Los Angeles and Zurich. In his later years, he devoted himself increasingly to architectural photography and the depiction of timeless landscapes and urban moments that invited the viewer to contemplate them. The gallery is showing two monumental aerial photographs of Los Angeles from this period. These include an oversized format measuring 137 x 280 cm (54 x 110 1/4 in.). The exhibition ‘Scent of Desire’ (2009-10) in Kriens, Switzerland is considered one of his last major projects. His last colour photographs were shown in this exhibition, such as the work ‚Äpfel’ from 2007, which is also on display.</p><p><br></p>" />
artist Sudarshan Shetty</a>, and the Scottish <a target="_blank" href=https://www.mutualart.com/Exhibition/Works-on-Paper-from-the-Henry-Moore-Fami/"/Artist/Andrew-James-Ward/56E48E5F284888F9">artist Andrew James Ward</a>. The three artists have repeatedly attracted international attention with room-filling and oversized installations, including at Art Basel and in the main building of the UN in New York.</p><p>The exhibition presents works that explore both the form and function of vessels, whether as everyday objects, as symbols of our quotidian life, or as even more abstract metaphors. Serving for thousands of years as bearers and witnesses of human culture, vessels truly embody the timeless connection between aesthetics and functionality.</p><p>While Bahk Seon Ghi removes physical boundaries in his installations and uses charcoal to create a fascinating lightness that fills the room with floating forms, Andrew James Ward focuses on the symbolic power of the vase in his monumental paintings. Sudarshan Shetty, on the other hand, combines traditional and modern materials in his sculptures to create works that reflect the tension between transience and permanence, tradition and modernity. All three artists transcend the conventional boundaries of their medium and create works that oscillate between reality and illusion, between the tangible and the fleeting.</p><p><br></p>" />
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