亨利·摩尔

 个人生活

摩尔1898年7月30日出生于英国英格兰西约克郡卡索福德(Castleford)，在八兄妹中排行第七，父亲雷蒙德·斯宾塞·摩尔，母亲玛丽·贝克尔。摩尔的父亲是一位采矿工程师，后来成为卡索福德Wheldale煤矿的副经理。他本人是自学成才并对音乐和文学感兴趣。但他认为他的孩子需要接受正规教育。摩尔在11岁时就打算今后成为一名雕塑家，并受到他主日学校老师的鼓励。这位老师将米开朗基罗的作品介绍给摩尔。尽管摩尔在中学时期的泥塑和木雕就显示了他的潜力，摩尔的父母还是反对他以雕塑作为职业。他们觉得雕塑只是体力工作。

1917年摩尔年满18岁，当时第一次世界大战战事正酣，摩尔应征入伍，成为他所在团里最年轻的士兵。在Cambrai战役中，摩尔被毒气弹袭击受伤。康复后，他作为体育教练直到战争结束。与他同时代者明显不同的是，摩尔的战争经历并没有对他造成阴影。他后来提到：“对我来说，战争是在试图成为英雄的浪漫想象中糊涂地度过的”。战后，摩尔作为退伍军人享受资助继续接受教育。

1919年，他成为了利兹大学雕塑专业第一位学生，为此学校还专门为他建设了一个雕塑工作室。

1921年，摩尔获得奖学金进入伦敦的皇家艺术学院（Royal College of Art, RCA），赫普沃斯在1920年也进入该校。在伦敦期间，摩尔扩展了他在原始美术和雕塑上的知识，对维多利亚和阿尔伯特博物馆和大英博物馆的人种学收藏进行了研究。

1924年，摩尔获得了一份6个月的奖学金，供他前往意大利北部研习米开朗基罗、乔托以及其他古代大师的作品。由于摩尔已经开始了他对古典传统的反叛，这次经历对他个人风格的影响并不明确。不过，他晚年时常常提到米开朗基罗对他的影响。

1930年代初，摩尔担任了切尔西艺术学校的雕塑系主任。在艺术上，摩尔、赫普沃斯和其他7和5协会的成员发展了更加抽象的作品风格。他们经常前往巴黎，受到法国的艺术家毕加索，布拉克〔Georges Braque〕,阿尔普〔Jean Arp〕和贾科梅蒂〔Alberto Giacometti〕的影响。此间，摩尔尝试了超现实主义。

二战的爆发中断了摩尔这一富于创造的时期，切尔西艺术学校疏散到北安普敦，摩尔也辞去了他的教职。他成为一名战争艺术家，创作了一系列有影响的绘画作品反映在地铁中躲避轰炸的伦敦。 这些绘画为摩尔赢得了更多的国际声誉，特别是在美国。

1940年，摩尔在Hampstead的家在轰炸中被毁，他和埃芮娜搬到伦敦郊外的一处农庄。此后，摩尔一直在这里居住和工作。尽管后来摩尔变得相当富有，除去扩建工作室，他的住所一直没有太大的改变。世界各地也先后举办他的回顾展，其中最大规模的是1972年在佛罗伦萨Forte di Belvedere的展览.

1970年代末，他的作品展达到每年将近40场。随着他的财产快速的增长，摩尔开始考虑他的遗产问题。在他女儿玛丽的帮助下，1972年他建立了亨利摩尔信托基金，以免他的财产受到遗产税的影响。1977年，他建立了亨利摩尔基金会，埃芮娜和玛丽作为基金会的托管人。基金会的目标是推广大众对艺术和莫尔作品的保护。基金会以摩尔在Hogland的旧居和工作室作为一个画廊和博物馆。基金会还负责管理位于利兹的亨利摩尔学院，支持国际雕塑创作的推广和研究。

摩尔分别于1955年和1961年被授予英国名誉勋位和“Order of Merit”。 他是英国国家美术馆和泰德艺廊的托管人。摩尔1986年8月31日于家中去世，终年88岁。

个人经历

1898年7月30日出生于英国约克郡

1920年成为利兹大学雕塑系第一位学生

1921年获得伦敦皇家艺术学院奖学金

1922年创作了第一件"母与子"雕塑

1923 年获皇家艺术学院奖学金，成为那里的雕塑导师

1930年被伦敦《建筑联合报》评为"当代英国雕塑家"

1931年成为切尔西艺术学院的系主任

1934年作品第一次被美国博物馆收藏，现存于纽约现代艺术博物馆

1942 年成为音乐与艺术促进理事会艺术家小组成员（1946年后为大英艺术理事会）

1943年首次在国外举办个展（纽约）

1945年被授予利兹大学荣誉文学博士学位

1948年成为皇家艺术委员会成员，当选为英国皇家建筑学院荣誉理事；在威尼斯双年展获国际雕塑奖

1953年在第二届圣保罗双年展上获国际雕塑奖

1959年获得第五届东京国际艺术展 “外务大臣奖”

1961年成为美国艺术与文学学院成员

1962年被授予杰出人士勋章

1964年被美国建筑学院授予特别奖章

1966年成为英国学院成员

1967年接受伦敦皇家艺术学院授予的荣誉博士学位

1968年被德意志联邦共和国授予杰出人士奖

1969年成为维也纳分离画派荣誉成员

1972年在佛罗伦萨举办亨利·摩尔回顾展，玛格丽特公主殿下揭幕

1974年安大略艺术画廊里的亨利·摩尔雕塑中心开放

1977年亨利·摩尔基金会揭幕式举行

1980年被德意志联邦共和国授予格兰德克劳斯杰出人士

1986年8月31日于家中去世，终年88岁

 在艺术评论家的不断定义下，已故雕塑家亨利·摩尔(Henry Moore,1898-1986)的作品构造充满女性人体的想象，比如那些著名的“斜卧的女人体”，摩尔的作品包含着很多的寓意。亨利·摩尔做为英国最知名、最重要的雕塑家，被认为具有英国约克郡人守口如瓶的特质，因为他的作品一如他的气质——温和而简洁。一战之后，亨利·摩尔成为了一个“超级明星艺术家”，创作了许多巨制作品，在战后重建的那些重要地区，比如Harlow和Stevenage这两座英国新城 。在他死后的24年，谁都没料到他的作品居然依然“流行”，甚至缺失了某些应该有的批判性的建议。

1988年英国皇家艺术学院的一次纪念展在他死后两年举行，作为英国最重要的艺术家之一，之后的展览未曾间断。亨利·摩尔基金会主管 Richard Calvocoressi说：“在过去的三十年中，我们在世界各地做了展览，比如中国、巴西、美国，但此次无疑是最重要的，它不是一次简单的回顾，而是振奋人心。”实际上，有关亨利·摩尔的复制品随处可见，甚至在那些明信片上。一些评论家直言，这些“流行神话”反而让亨利·摩尔成了一个“伪君子”，因为策展人所“泄露”出来的这些“新”信息再次提高了亨利·摩尔的知名度。有评论家认为，“艺术家本人是否希望如此不得而知，但至少，依照他的个性应该不会愿意看到他的那些作品被机械地复印在那些纸片上，就像贝肯、理查德·汉密尔顿被不断地复制那样。”

 早期

年轻时，亨利·摩尔很崇拜现代派雕塑家爱泼斯坦、勃尔泽斯卡、布朗库西和毕加索等人，他也曾竭力追求构成主义的思考方式，一度还对超现实主义的潜意识表现发生兴趣。他在观察自然界有机形体（如甲壳、骨骼、石块、树根等）中领悟空间、形态的虚实关系，自然力赋予形态的影响等等，使自己的作品尽量符合自然力的法则。他说：“大自然中即存在不对称法则，被海浪冲洗得平滑的卵石，显示了石头损耗和磨蚀的不对称的法则。”“树的关节一个个有力而又自然地把树干从一个方向拧向另一个方向，它们是理想的木雕。”他同时从原始艺术中不断汲取，他说：“一切原始艺术最突出的特点，是它们那生气勃勃的活力。这是人民对生活的直接感受的再现。”所以在他的创作中，首先追求物体的质感，保留材料本来的美质。他宁肯要求一件雕刻象一块“有生命”的石头或树干，而不要求它们完全象一个有生命的人。

后期

到50年代为止，摩尔在艺术上的拓展主要体现在空间的连贯性方面。他从空洞、薄壳、套叠、穿插等等手法中把人物的因素大胆而自由地异化为有韵律、有节奏的空间形态。最出色的代表作如1951年作的《内部和外部的斜倚人物》。它的母题仍是自1926年受印地安托尔特克文化中雨神雕像影响而创作的《斜倚人物》，但以圆孔处理颈、胸、腹部的体积，流畅自然，韵味无穷。1952年所作的《国王和王后》是扁平造型的代表。简练的平片形产生了起伏的立体空间。此后，他又迷恋于直立主题，用以创造纪念碑式的伟大、肃穆的雕塑，亦受到广泛的赞美。

作为当代最著名的雕塑家，亨利·摩尔在晚年又获得了牛津、哈佛、剑桥等大学的名誉学位和英国最高级的功勋勋章。

 Born in Castleford, West Yorkshire, England, on July 30, 1898, Moore ranked seventh among eight siblings, his father Raymond Spencer Moore and mother Mary Becker. Moore's father was a mining engineer and later became deputy manager of Casoford Wheldale Coal Mine. He was self-taught and interested in music and literature. But he thinks his children need formal education. At the age of 11, Moore planned to become a sculptor in the future and was encouraged by his Sunday school teacher. The teacher introduced Michelangelo's work to Moore. Although Moore's clay and wood sculptures in high school showed his potential, Moore's parents opposed his career as a sculptor. They think sculpture is just physical work.

Moore turned 18 in 1917, when World War I was in full swing. Moore enlisted and became the youngest soldier in his regiment. During the Cambrai campaign, Moore was wounded by a gas bomb. After recovering, he worked as a sports coach until the end of the war. Unlike his contemporaries, Moore's war experience did not cast a shadow on him. He later said, "For me, the war was spent confusedly in the romantic imagination of trying to be a hero." After the war, Moore enjoyed funding for continuing education as a veteran.

In 1919, he became the first student in sculpture at Leeds University, for which a sculpture studio was built.

In 1921, Moore was awarded a scholarship to the Royal College of Art (RCA) in London, and Hepworth joined in 1920. During his stay in London, Moore expanded his knowledge of primitive art and sculpture and studied the anthropological collections of the Victoria and Albert Museums and the British Museum.

In 1924, Moore received a six-month scholarship to study the works of Michelangelo, Giotto and other ancient masters in northern Italy. As Moore has begun his rebellion against classical traditions, the impact of this experience on his personal style is not clear. In his later years, however, he often mentioned Michelangelo's influence on him.

In the early 1930s, Moore served as head of the Department of Sculpture at Chelsea Art School. In art, Moore, Hepworth and other members of the 7th and 5th associations developed more abstract styles. They often went to Paris, influenced by French artists Picasso, Georges Braque, Alp, Jean Arp and Giacometti. Here Moore tried surrealism.

The outbreak of World War II interrupted Moore's creative period. Chelsea Art School evacuated to Northampton and Moore resigned from his teaching post. He became a war artist and created a series of influential paintings reflected in London, which was sheltered from bombing in the subway. These paintings have earned Moore more international fame, especially in the United States.

In 1940, Moore's house in Hampstead was destroyed by bombing. He and Irina moved to a farm outside London. Since then, Moore has lived and worked here. Although Moore later became quite wealthy, his residence had not changed much except for the expansion studio. His retrospective exhibitions have been held all over the world, the largest of which was in Forte di Belvedere, Florence, in 1972.

By the end of the 1970s, he had nearly 40 exhibitions a year. As his fortune grew rapidly, Moore began to think about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972 to protect his property from inheritance tax. In 1977, he founded the Henry Moore Foundation, with Elena and Mary as trustees. The aim of the Foundation is to promote the protection of art and Moore's works by the general public. The foundation uses Moore's old residence and studio in Hogland as a gallery and museum. The foundation also manages Henry Moore College in Leeds and supports the promotion and research of international sculpture creation.

Moore was awarded the British Honour and Order of Merit in 1955 and 1961, respectively. He is the trustee of the National Gallery of Art and the Ted Gallery. Moore died at home on August 31, 1986 at the age of 88.

Under the constant definition of art critics, the works of the late sculptor Henry Moore (1898-1986) are full of the imagination of the female body, such as those famous "reclining female body", whose works contain many implications. Henry Moore, as the most famous and important sculptor in Britain, is considered to have the characteristics of keeping his mouth shut because his works are as mild and concise as his. After World War I, Henry Moore became a "superstar artist" who created many great works and rebuilt important areas after the war, such as Harlow and Stevenage. Twenty-four years after his death, no one expected that his works were still "popular" and even lacked some critical suggestions.

In 1988, a commemorative exhibition at the Royal College of Art was held two years after his death. As one of Britain's most important artists, the exhibition has not been interrupted since. Richard Calvocoressi, director of the Henry Moore Foundation, said: "Over the past three decades, we have exhibited in various parts of the world, such as China, Brazil and the United States, but this is undoubtedly the most important one. It is not a simple review, but an exciting one." In fact, copies of Henry Moore are everywhere, even on postcards. Some critics say that these "popular myths" have turned Henry Moore into a "hypocrite" because the "new" information "leaked" by curators has once again increased Henry Moore's popularity. Some critics believe that "whether the artist himself wishes to be so unknown, but at least according to his personality, he should not want to see his works mechanically copied on those pieces of paper, just as Becken and Richard Hamilton are constantly copied."

When he was young, Henry Moore worshipped modern sculptors like Epstein, Brzeska, Broncussi and Picasso. He also tried to pursue constructivist ways of thinking and was once interested in the subconscious manifestations of surrealism. In observing the organic forms of nature (such as crustaceans, bones, stones, roots, etc.), he comprehends the relationship between space and form, the influence of natural forces on form, and so on, so as to make his works conform to the law of natural forces as far as possible. He said: "There is a law of asymmetry in nature. The smooth pebbles washed by the waves show the asymmetric law of stone wear and tear." "The joints of trees twist their trunks from one direction to another forcefully and naturally. They are ideal wood carvings." At the same time, he constantly draws from primitive art, he said: "The most outstanding feature of all primitive art is their vigorous vitality. This is the reproduction of people's direct feelings about life. Therefore, in his creation, first of all, he pursues the texture of objects and retains the original quality of materials. He preferred a sculpture to be like a "living" stone or trunk rather than a living person.

Later stage

Until the 1950s, Moore's artistic expansion was mainly reflected in spatial coherence. He boldly and freely alienated the factors of characters into rhythmic and rhythmic spatial forms by means of emptiness, thin shell, overlapping and interpolation. The most outstanding representative works are "Internal and External Reclining Persons" written in 1951. Its motif is still the reclining figure created in 1926 under the influence of the statue of Rain God in Indian Toltek culture, but it deals with the volume of neck, chest and abdomen with a round hole, which is smooth and natural, with endless charm. The King and Queen, written in 1952, is the representative of flat sculpture. Simple flat sheets create undulating three-dimensional spaces. Since then, he has been fascinated by the upright theme, which is used to create great and solemn monumental sculptures, and has also been widely praised.

As the most famous contemporary sculptor, Henry Moore received honorary degrees from universities such as Oxford, Harvard, Cambridge and the highest medals of merit in Britain in his later years.

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