- Henry Moore
- Reclining figure no. 7
- Inscribed with the signature Moore, stamped with the foundry mark H. Noack Berlin and numbered 8/9
- Length: 39 3/8 in.
- 100 cm
Jeffrey Loria, New York
Acquired from the above circa 1980-82
Alan Bowness, ed., Henry Moore, Sculpture and Drawings, vol. 5, London, 1983, no. 752, illustrations of other casts pls. 158-61Henry Moore, The Reclining Figure (exhibition catalogue), Columbus Museum of Art ,1984, illustration of another cast p. 102
Moore's preference for the reclining figure as a subject of his sculpture is well-documented. In interviews he explained his predilection for this form, and the spatial challenges that it presented for him. One of his most succinct explanations was published in his self-titled monograph in the final years of his life: "There are three fundamental poses of the human figure. One is standing, the other is seated, and the third is lying down.... But of the three poses, the reclining figure gives the most freedom, compositionally and spatially. The seated figure has to have something to sit on. You can't free it from its pedestal. A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity. Also, it has repose. And it suits me ─ if you know what I mean." (quoted in Henry Moore, The Reclining Figure, Columbus Museum of Art (exhibition catalogue), 1984, p. 26).
Sir Kenneth Clark, whose definitive essays on Michelangelo and the Italian Renaissance have become legendary in the field of art history, recognized Moore as the great visionary of European sculpture. "The popular conception of Moore as the master of the reclining figure is correct. His vertical motifs, the internal/external forms and agonized columns, marvellous as they are, have been episodes. The reclining figure had reappeared at every phase of his work, and in the last few years has been the basis of his greatest sculpture." (K.Clark, quoted in Henry Moore, The Reclining Figure, Columbus Museum of Art (exhibition catalogue), 1984, p. 4).
The present bronze is the eighth in a numbered edition of nine, plus one artist's proof.