In connecting organic and architectural forms, this sculpture appears to act as a study for larger commissions, evidence of Moore’s struggle to relate the two seemingly contradictory elements. He explained this struggle in noting how he “would rather have a piece of sculpture put in a landscape, almost any landscape, than in, or on the most beautiful building…” (in David Sylvester, ed., Sculpture and Drawings by Henry Moore, exhibition catalogue, Tate Gallery, London 1951, p. 4). That Moore’s sculptures stand in public spaces the world over is evidence of his mastery of this complex personal and professional concern. On the psychological power on the series, John Russell writes: “[He has the] ability to draw upon the limitless repertory of images which lies stored-up in the unconscious mind of every one of us. At a time for instance, when anthropology and the analysis of dreams have alike had much to offer to the student of our race, the ‘Upright Motives’ of 1955-56 speak to us at many levels of consciousness and thrust down toward recollections as yet undredged from the deeps of memory” (in Henry Moore (exhibition catalogue), M. Knoedler & Co., Inc., New York, 1962, n.p.).
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