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BBC Four Collections - | 0:00:01 | 0:00:03 | |
specially chosen programmes from the BBC Archive. | 0:00:03 | 0:00:06 | |
In the half century or more since his first exhibition, | 0:01:11 | 0:01:14 | |
the work of Henry Moore has been seen in almost every country in the world. | 0:01:14 | 0:01:17 | |
He's made a staggering total of something like 900 sculptures, | 0:01:18 | 0:01:22 | |
many of them immense, as well as thousands of drawings | 0:01:22 | 0:01:25 | |
and nearly a thousand graphics. | 0:01:25 | 0:01:27 | |
In one year, when he was in his 80s, he had more than 40 exhibitions. | 0:01:29 | 0:01:33 | |
In the later part of his life, | 0:01:33 | 0:01:35 | |
the demand for his work never stopped. | 0:01:35 | 0:01:38 | |
He received almost every award and honour that one can possibly imagine. | 0:01:38 | 0:01:42 | |
I believe that Henry Moore is one of the greatest sculptors | 0:01:43 | 0:01:47 | |
since the Renaissance. | 0:01:47 | 0:01:49 | |
He's been to the art of sculpture what Picasso was to painting. | 0:01:49 | 0:01:53 | |
Picasso opened up so many new ways of painting, he was a revolutionary | 0:01:53 | 0:01:58 | |
in the sense of breaking down all the old ways and suggesting new ways. | 0:01:58 | 0:02:02 | |
Moore differed from Picasso in this respect. | 0:02:02 | 0:02:06 | |
Moore, as modern as he may have seemed at the beginning, | 0:02:06 | 0:02:10 | |
never really lost his contact with tradition. | 0:02:10 | 0:02:13 | |
He took the whole idea of 19thcentury sculpture, | 0:02:13 | 0:02:16 | |
threw it away, but went back to what he called | 0:02:16 | 0:02:19 | |
the world tradition of sculpture. | 0:02:19 | 0:02:21 | |
By that he meant looking at every culture in the world, | 0:02:21 | 0:02:24 | |
going back as far as 40,000 years | 0:02:24 | 0:02:26 | |
to the very sources of sculptural expression. | 0:02:26 | 0:02:28 | |
But however modern, revolutionary or surreal | 0:02:30 | 0:02:33 | |
the sculpture may have seemed, | 0:02:33 | 0:02:35 | |
his fundamental beliefs lay entirely within a humanistic tradition. | 0:02:35 | 0:02:39 | |
HENRY MOORE: All our judgements of architecture, | 0:02:40 | 0:02:43 | |
of form and everything else, are based on the fact | 0:02:43 | 0:02:46 | |
that we are human beings of the shape we are. | 0:02:46 | 0:02:48 | |
And that we have a height of average between five foot six and six feet, | 0:02:48 | 0:02:56 | |
that we walk on two legs, | 0:02:56 | 0:02:58 | |
that we have bones inside us | 0:02:58 | 0:03:00 | |
and that we can move in certain ways and not in other ways, | 0:03:00 | 0:03:04 | |
that we understand from ourselves, | 0:03:04 | 0:03:07 | |
and from our mothers to begin with, softness and hardness. | 0:03:07 | 0:03:10 | |
All this... | 0:03:10 | 0:03:11 | |
If you don't, well, learn from your own body, | 0:03:11 | 0:03:14 | |
you'll learn from nothing. | 0:03:14 | 0:03:15 | |
And that for me, that the human body is the basis | 0:03:15 | 0:03:18 | |
of all sense of form that all of us have. | 0:03:18 | 0:03:21 | |
We learn how far a thing is away from us, as a child, | 0:03:21 | 0:03:24 | |
by trying to touch the toy in the pram. | 0:03:24 | 0:03:26 | |
We learn what is upright and so on because we are ourselves. | 0:03:26 | 0:03:31 | |
If we were like horses and could go to sleep on all fours, | 0:03:31 | 0:03:35 | |
all our architecture, all our art, would be different. | 0:03:35 | 0:03:38 | |
Of course it would. | 0:03:38 | 0:03:40 | |
Of course it would. | 0:03:40 | 0:03:42 | |
Well, Henry Moore had that way | 0:03:42 | 0:03:43 | |
of making very unusual and provocative ideas sound as though | 0:03:43 | 0:03:46 | |
they were common sense and very down to earth. | 0:03:46 | 0:03:49 | |
I must have known him as a child, | 0:03:49 | 0:03:50 | |
but I don't have any memories of that. | 0:03:50 | 0:03:52 | |
The first place I really remember meeting him was here, | 0:03:52 | 0:03:55 | |
in fact, in this very room. Not a room so much as a studio. | 0:03:55 | 0:03:58 | |
It was, in fact, Henry Moore's first studio | 0:03:58 | 0:04:01 | |
when he moved out of London into the country. | 0:04:01 | 0:04:04 | |
And because the film I made about him in 1950 was the first film | 0:04:04 | 0:04:07 | |
I had ever made, it was also my first film studio. | 0:04:07 | 0:04:10 | |
It was, in fact, the village shop once. | 0:04:10 | 0:04:14 | |
And up the back there was what was the butcher's shop. | 0:04:14 | 0:04:17 | |
And Moore, I remember, was delighted, when they were digging round there, | 0:04:17 | 0:04:20 | |
to find the ground was fill of huge shin bones and shoulder blades, | 0:04:20 | 0:04:23 | |
and I think a lot of these probably gave him | 0:04:23 | 0:04:25 | |
some inspiration for some of his sculpture. | 0:04:25 | 0:04:28 | |
He certainly liked wearing a butcher's apron when he was working. | 0:04:28 | 0:04:31 | |
I made six films about him over, I think, about 28 years. | 0:04:33 | 0:04:37 | |
The last one for his 80th birthday. | 0:04:37 | 0:04:39 | |
By then, I was beginning to feel as though I was a member of his staff. | 0:04:39 | 0:04:42 | |
John. | 0:04:42 | 0:04:43 | |
Put that...in-between you, put that just...somewhere on the side there. | 0:04:45 | 0:04:50 | |
That's it, like that. No, it's about.. No. The other. | 0:04:50 | 0:04:54 | |
Turn it right round the other side. | 0:04:54 | 0:04:56 | |
It's got a better... | 0:04:56 | 0:04:58 | |
No, right round. | 0:04:58 | 0:05:00 | |
No, no. Look. | 0:05:00 | 0:05:02 | |
No, no, no, no. All right, turn it over again. There. | 0:05:02 | 0:05:06 | |
Now bring it over here, bring it... That's it, there. | 0:05:06 | 0:05:09 | |
That'll be better, much better, when you're out of the way. | 0:05:11 | 0:05:15 | |
You're standing in the light. There you are. | 0:05:15 | 0:05:17 | |
'When I went to see him, as his 80th birthday approached, | 0:05:17 | 0:05:21 | |
'I found him as eager to talk about his beliefs as ever. | 0:05:21 | 0:05:24 | |
'He is, amongst other things, a meticulous photographer | 0:05:24 | 0:05:26 | |
'of his own work and attends to every detail | 0:05:26 | 0:05:29 | |
'with almost boyish enthusiasm.' | 0:05:29 | 0:05:31 | |
Yes... No, I don't want that white edge at the back. | 0:05:31 | 0:05:34 | |
That's it, there. | 0:05:34 | 0:05:35 | |
That doesn't matter about having a sharp edge. There we are. Now... | 0:05:39 | 0:05:42 | |
See, that will make a much better... There. | 0:05:42 | 0:05:45 | |
Moore's expert knowledge of photography was a great help to me | 0:05:50 | 0:05:53 | |
when I made my first film there in 1950. | 0:05:53 | 0:05:55 | |
With the strange and impressive shapes that fill his studio, | 0:05:55 | 0:05:59 | |
he picks up and carries on a tradition | 0:05:59 | 0:06:02 | |
that has been extinct in England for 400 years, | 0:06:02 | 0:06:04 | |
a tradition of expressiveness and truth to material. | 0:06:04 | 0:06:08 | |
The studio is a workshop in which he turns his ideas into tangible forms. | 0:06:08 | 0:06:12 | |
At first sight, this world is unfamiliar and puzzling to us. | 0:06:14 | 0:06:18 | |
But the quality and quantity of Moore's work has a unity | 0:06:18 | 0:06:22 | |
that could only come from great originality and strength. | 0:06:22 | 0:06:26 | |
Sculpture of this kind is a challenge to our accepted ideas | 0:06:28 | 0:06:32 | |
and we must understand the sculptor's approach to his work | 0:06:32 | 0:06:35 | |
before we can appreciate the work itself. | 0:06:35 | 0:06:37 | |
The sculptor is distinguished from other artists by his materials | 0:06:37 | 0:06:40 | |
and by the way he uses them. | 0:06:40 | 0:06:42 | |
Here are Henry Moore's hands and his tools. | 0:06:44 | 0:06:46 | |
I learned from Moore a great deal | 0:06:56 | 0:06:58 | |
about how to place and light sculpture for the camera, | 0:06:58 | 0:07:01 | |
how to photograph it from many angles, | 0:07:01 | 0:07:03 | |
how to move the camera right inside | 0:07:03 | 0:07:05 | |
as though entering a tunnel and walking through it. | 0:07:05 | 0:07:07 | |
I also learned a great deal about art. | 0:07:11 | 0:07:13 | |
I think I picked up from him | 0:07:13 | 0:07:14 | |
the basic sort of sign posts in my own artistic belief. | 0:07:14 | 0:07:18 | |
It was impossible to work | 0:07:18 | 0:07:20 | |
so closely with Moore without really absorbing his ideas. | 0:07:20 | 0:07:24 | |
Henry Moore was born at Castleford in Yorkshire. | 0:07:26 | 0:07:29 | |
It's a typical 19th-century mining town. | 0:07:29 | 0:07:32 | |
DH Lawrence was born in a very similar place in Nottinghamshire. | 0:07:32 | 0:07:35 | |
There must be 100 others like it all over the country. | 0:07:35 | 0:07:38 | |
Moore has been given the freedom of Castleford. | 0:07:38 | 0:07:41 | |
They are as proud of him there as they would be | 0:07:41 | 0:07:43 | |
if he'd played cricket for Yorkshire. | 0:07:43 | 0:07:45 | |
He was born in 1898 in an ordinary terraced brick house. | 0:07:48 | 0:07:52 | |
His father was a miner, and a friend of Herbert Smith, | 0:07:53 | 0:07:56 | |
who helped to found the Yorkshire Miners' Union. | 0:07:56 | 0:07:58 | |
When times were bad, his mother went out to work. | 0:07:58 | 0:08:01 | |
There were eight children in the family all together. | 0:08:01 | 0:08:04 | |
Two died, three became teachers, one was lost to sight in Canada. | 0:08:04 | 0:08:08 | |
Henry, who went to the local school, was the one who was good at art. | 0:08:11 | 0:08:14 | |
They still keep there a caricature of his headmaster, | 0:08:14 | 0:08:17 | |
with his own name, much bigger, alongside. | 0:08:17 | 0:08:20 | |
He carved it on the back of the school roll of honour, | 0:08:20 | 0:08:23 | |
which he designed in 1916. | 0:08:23 | 0:08:25 | |
He also wrote plays, acted in them, and designed the programme covers. | 0:08:26 | 0:08:30 | |
He was good at pottery, | 0:08:33 | 0:08:35 | |
and in all these activities, owed a great deal | 0:08:35 | 0:08:38 | |
to the encouragement of his art teacher. | 0:08:38 | 0:08:39 | |
As a boy, at school, I liked the art lessons, I liked drawing. | 0:08:39 | 0:08:44 | |
I used to get my elder brother to draw horses for me, and so on, | 0:08:44 | 0:08:47 | |
from as early as I can remember, | 0:08:47 | 0:08:48 | |
but the little incident that clinches the thing in my mind was... | 0:08:48 | 0:08:55 | |
..our parents used to send me and my younger sister | 0:08:56 | 0:09:00 | |
to Sunday school on Sunday afternoons to get rid of us, I think, mainly. | 0:09:00 | 0:09:04 | |
And the Sunday school we went to was a Congregational chapel, | 0:09:04 | 0:09:08 | |
although we were Church of England. | 0:09:08 | 0:09:10 | |
And the superintendent every Sunday used to give a talk about... | 0:09:11 | 0:09:15 | |
..some little moral, it would always have a point to the talk. | 0:09:16 | 0:09:22 | |
And one Sunday he told us about | 0:09:22 | 0:09:23 | |
Michelangelo carving the head of an old faun in the streets of... | 0:09:23 | 0:09:28 | |
In his studio, in the streets of Florence, and... | 0:09:28 | 0:09:33 | |
But a passer-by stood to watch Michelangelo carving | 0:09:33 | 0:09:38 | |
this head of an old faun and... | 0:09:38 | 0:09:40 | |
..after watching two or three minutes, said to Michelangelo, | 0:09:42 | 0:09:45 | |
"But an old faun wouldn't have all its teeth in." | 0:09:45 | 0:09:47 | |
Michelangelo immediately, said the superintendent, | 0:09:47 | 0:09:50 | |
took his chisel, knocked out two of the teeth | 0:09:50 | 0:09:53 | |
and there, he said, was a great man, | 0:09:53 | 0:09:55 | |
listening to the advice of other people, | 0:09:55 | 0:09:57 | |
even though he didn't know them. | 0:09:57 | 0:09:59 | |
Now, this story didn't stick in my mind, but it's moral - | 0:09:59 | 0:10:04 | |
but merely that there was someone, Michelangelo, a great sculptor. | 0:10:04 | 0:10:07 | |
And from then onwards, instead of saying, like most boys might, | 0:10:07 | 0:10:12 | |
that one wants to be an engine driver and so on, | 0:10:12 | 0:10:15 | |
this had just pinpointed something in my mind and I knew from then onwards. | 0:10:15 | 0:10:20 | |
In the early 1950s, Henry Moore could just walk out of the house | 0:10:24 | 0:10:27 | |
and into this shed, and that was all there was to it, | 0:10:27 | 0:10:30 | |
and this was the only studio. | 0:10:30 | 0:10:31 | |
There was a small space outside, a kind of patio, | 0:10:31 | 0:10:34 | |
which faced the garage door. | 0:10:34 | 0:10:35 | |
All the work was done within that small area, | 0:10:35 | 0:10:38 | |
right up till the time when he became | 0:10:38 | 0:10:40 | |
a really famous and international figure. | 0:10:40 | 0:10:43 | |
But, of course, as his fame increased, his income increased, | 0:10:43 | 0:10:45 | |
and with it, the size of his sculpture | 0:10:45 | 0:10:48 | |
and the extent of the whole operation. | 0:10:48 | 0:10:50 | |
It became quite extraordinary, | 0:10:50 | 0:10:52 | |
the way Perry Green became almost a little country of its own, | 0:10:52 | 0:10:55 | |
as Henry Moore occupied one building after another. | 0:10:55 | 0:10:58 | |
It spread out over the fields, into the sheds and barns | 0:10:58 | 0:11:02 | |
and it became a kind of sculpture park. | 0:11:02 | 0:11:04 | |
'By 1958, his studio had expanded greatly. | 0:11:06 | 0:11:09 | |
'Now that he was earning more, he could do more. | 0:11:09 | 0:11:12 | |
'His old studio was used more and more for small pieces, | 0:11:12 | 0:11:15 | |
'for polishing and finishing off castings and for maquettes, | 0:11:15 | 0:11:19 | |
'and for the sort of jobs that assistants could do for him.' | 0:11:19 | 0:11:22 | |
The garden around the house had grown very considerably | 0:11:24 | 0:11:27 | |
and sculptures were placed in it to the best advantage. | 0:11:27 | 0:11:30 | |
Beyond the garden, Moore had taken over two large fields | 0:11:34 | 0:11:36 | |
and a small wood. | 0:11:36 | 0:11:38 | |
In the first field he built a new studio, well away from the house, | 0:11:38 | 0:11:41 | |
where he could work both night and day. | 0:11:41 | 0:11:44 | |
It was built to his own design with doors and roof high enough | 0:11:44 | 0:11:48 | |
for his largest works | 0:11:48 | 0:11:49 | |
and a terrace onto which he could move his sculptures. | 0:11:49 | 0:11:51 | |
This was important because he felt very strongly | 0:11:51 | 0:11:54 | |
that sculpture meant to be looked at out of doors, | 0:11:54 | 0:11:56 | |
cannot be made entirely indoors. | 0:11:56 | 0:11:58 | |
THUNDER CRASHES | 0:11:58 | 0:12:00 | |
Running a sculpture workshop on the scale that Henry Moore did | 0:12:05 | 0:12:08 | |
made him something like the managing director | 0:12:08 | 0:12:10 | |
of quite a large enterprise. | 0:12:10 | 0:12:12 | |
All the same, he had a very strict routine to deal with all this. | 0:12:12 | 0:12:16 | |
One wondered sometimes where and when | 0:12:16 | 0:12:18 | |
he managed to do his actual creative work. | 0:12:18 | 0:12:20 | |
But he'd have breakfast at eight, | 0:12:20 | 0:12:22 | |
he would have a meeting with his staff at nine o'clock | 0:12:22 | 0:12:24 | |
to brief them for the day's jobs. | 0:12:24 | 0:12:26 | |
He would read The Times, perhaps for half an hour | 0:12:26 | 0:12:28 | |
and then he would sit down with his secretary | 0:12:28 | 0:12:30 | |
and go through the mail, things like this, | 0:12:30 | 0:12:32 | |
before going down to the studios to see what was happening. | 0:12:32 | 0:12:35 | |
All this took place in a very simple, straightforward domestic routine. | 0:12:35 | 0:12:40 | |
Really very homely. And if you came down to see him you would have lunch. | 0:12:40 | 0:12:44 | |
Lunch would be cold lamb, baked potato, something like that. | 0:12:44 | 0:12:48 | |
Everybody had a bottle of Guinness, | 0:12:48 | 0:12:49 | |
each separate bottle of Guinness for each plate. | 0:12:49 | 0:12:52 | |
Each one with its own little opener, I always remember that. | 0:12:52 | 0:12:54 | |
You do sort of get sidelights on people. | 0:12:54 | 0:12:58 | |
I remember having a dinner with the abstract sculptor Naum Gabo | 0:12:58 | 0:13:04 | |
and he chose chicken, spring chicken, | 0:13:04 | 0:13:06 | |
and watching him trying to carve that spring chicken... | 0:13:06 | 0:13:09 | |
It was a total disaster - | 0:13:09 | 0:13:10 | |
within two minutes there was just wreckage on the plate. | 0:13:10 | 0:13:13 | |
Now, to see Moore carving into a sirloin of beef | 0:13:13 | 0:13:16 | |
was one of the small joys of life, cos in no time at all | 0:13:16 | 0:13:18 | |
there was the most beautiful two-piece reclining figure there. | 0:13:18 | 0:13:21 | |
RADIO PLAYS IN WORKSHOP | 0:13:21 | 0:13:24 | |
Of course, things could go wrong. | 0:13:25 | 0:13:27 | |
There was a great occasion once, I think, when a sculpture fell off | 0:13:27 | 0:13:30 | |
the back of a lorry on the motorway, which puzzled the police somewhat. | 0:13:30 | 0:13:34 | |
Er... We were lucky once, in fact, if lucky is the word, | 0:13:34 | 0:13:37 | |
because we had cameras there when something quite serious went wrong. | 0:13:37 | 0:13:41 | |
'The sculpture was tied by nylon straps | 0:13:45 | 0:13:47 | |
'to the jib of a massive crane.' | 0:13:47 | 0:13:49 | |
'The hangar roof, only inches above, created problems.' | 0:13:49 | 0:13:52 | |
'A false move, a faulty calculation, and the sculpture could slip, | 0:13:53 | 0:13:57 | |
'the crane overturn, the hangar be demolished. | 0:13:57 | 0:14:00 | |
'Noack drew the lines along which he would cut. | 0:14:00 | 0:14:03 | |
'He hoped to take out a whole half-section in a single piece.' | 0:14:03 | 0:14:06 | |
RADIO PLAYS IN BACKGROUND | 0:14:08 | 0:14:10 | |
RADIO: '..Whatever you do this Whitsun, | 0:14:11 | 0:14:13 | |
'you must take your friends to Spedeworth Stock Car Racing...' | 0:14:13 | 0:14:17 | |
As Noack cut the last few inches, the weight of the sculpture | 0:14:17 | 0:14:19 | |
was transferred from its base to the straps. | 0:14:19 | 0:14:22 | |
Anything could happen now. | 0:14:23 | 0:14:25 | |
RADIO: '..All the places for Spedeworth Stock Car Racing, | 0:14:25 | 0:14:29 | |
'this Whitsun.' | 0:14:29 | 0:14:31 | |
MAN 1: Schoen drin. Aber heraus...Sie nicht ziehen. | 0:14:32 | 0:14:34 | |
MAN 2: Ja, ja. | 0:14:34 | 0:14:35 | |
MAN 1: Schoen runter... Das kann ruhig ein bisschen hier raushangen. | 0:14:35 | 0:14:39 | |
'Moore went to lunch.' | 0:14:43 | 0:14:45 | |
MECHANICAL THRUMMING | 0:14:45 | 0:14:47 | |
Things began to go wrong. | 0:14:53 | 0:14:54 | |
The upper section had dropped and its edge fouled the piece below. | 0:14:55 | 0:14:58 | |
Ugly cracks appeared. | 0:14:58 | 0:15:00 | |
The crane had no room to manoeuvre and was very nearly off-balance. | 0:15:00 | 0:15:03 | |
The section had to be cut free. | 0:15:04 | 0:15:06 | |
MUSIC PLAYS ON RADIO | 0:15:06 | 0:15:09 | |
'Then it happened.' | 0:15:11 | 0:15:12 | |
MAN YELLS AND WHISTLES | 0:15:12 | 0:15:14 | |
The top section had cracked at its narrowest part, | 0:15:15 | 0:15:18 | |
the plaster was torn, the armature had snapped. | 0:15:18 | 0:15:21 | |
The falling piece swung into the other half of the sculpture | 0:15:22 | 0:15:24 | |
and made an ugly dent. | 0:15:24 | 0:15:26 | |
By the time they'd got the first piece out, | 0:15:26 | 0:15:28 | |
Moore came back from lunch... | 0:15:28 | 0:15:30 | |
'Surprisingly, he was calm, philosophical | 0:15:30 | 0:15:32 | |
'and above all, practical.' | 0:15:32 | 0:15:34 | |
MAN: No, a little bit more. | 0:15:34 | 0:15:36 | |
Maybe you can drive it some? | 0:15:37 | 0:15:39 | |
MOORE: 'It can be mended. | 0:15:40 | 0:15:41 | |
'I mean, there's... This is what life is. | 0:15:41 | 0:15:44 | |
'Sometimes you'll purposely destroy a thing | 0:15:44 | 0:15:47 | |
'to make something else out of it.' | 0:15:47 | 0:15:49 | |
'Art is not a process of just gradual perfection. | 0:15:50 | 0:15:56 | |
'You'll have accidents, you'll have troubles, you'll have...' | 0:15:56 | 0:15:59 | |
'You'll have difficulties. | 0:16:00 | 0:16:02 | |
'You'll destroy things, you'll discard something, | 0:16:02 | 0:16:06 | |
'you'll make a new thing, and all this is the way you live. | 0:16:06 | 0:16:11 | |
'So, you take the rough with the smooth.' | 0:16:11 | 0:16:14 | |
'I don't think it's very surprising | 0:16:16 | 0:16:17 | |
'that working with Henry Moore on doing films | 0:16:17 | 0:16:19 | |
'was an education in itself.' | 0:16:19 | 0:16:21 | |
Education, I think, was very close to his heart. | 0:16:21 | 0:16:24 | |
Not only had he benefited so much from hard work | 0:16:24 | 0:16:26 | |
and education himself - scholarship boy and so on - | 0:16:26 | 0:16:29 | |
he had the greatest respect for his teachers, | 0:16:29 | 0:16:32 | |
or some of them at least, | 0:16:32 | 0:16:33 | |
a great respect for what he got out of museums. | 0:16:33 | 0:16:36 | |
He had great respect, I think, for teaching himself, as a duty. | 0:16:36 | 0:16:41 | |
He liked taking people round. | 0:16:41 | 0:16:43 | |
He liked making films, he liked explaining, | 0:16:43 | 0:16:45 | |
and he was jolly good at it. | 0:16:45 | 0:16:48 | |
He knew exactly how to use the television and film medium. | 0:16:48 | 0:16:51 | |
Primitive art makes a straightforward statement. | 0:16:51 | 0:16:55 | |
Its primary concern is with the elemental. | 0:16:55 | 0:16:59 | |
And it's simplicity comes from a direct and strong feeling. | 0:16:59 | 0:17:03 | |
Which is very different from being simple for the sake of being simple, | 0:17:04 | 0:17:08 | |
which only leads to emptiness. | 0:17:08 | 0:17:10 | |
I think you will see what I mean | 0:17:10 | 0:17:12 | |
if you look at this Mexican pottery figure. | 0:17:12 | 0:17:15 | |
It was made by someone with a direct and immediate response to life | 0:17:16 | 0:17:21 | |
to whom art was a channel | 0:17:21 | 0:17:23 | |
for expressing strong hopes, beliefs and fears. | 0:17:23 | 0:17:28 | |
Well, this was, for me, | 0:17:28 | 0:17:32 | |
an important stage of my development as a sculptor... | 0:17:32 | 0:17:37 | |
..because although I was still mainly a stone sculptor, | 0:17:38 | 0:17:42 | |
in fact completely absorbed in stone carving... | 0:17:42 | 0:17:47 | |
..I was dissatisfied with the... | 0:17:48 | 0:17:50 | |
..usual idea of direct carving, | 0:17:51 | 0:17:53 | |
in which the forms are all so embedded in each other | 0:17:53 | 0:17:57 | |
that they don't have a free, independent existence. | 0:17:57 | 0:18:02 | |
And here I was trying to make... so that, say, this form, | 0:18:02 | 0:18:06 | |
which is like the shape of an egg, which is the body, | 0:18:06 | 0:18:09 | |
is completely, almost completely realised, | 0:18:09 | 0:18:12 | |
though not separated from the rest, | 0:18:12 | 0:18:15 | |
that is that I was making the forms... | 0:18:15 | 0:18:19 | |
..realised enough and yet, compact enough. | 0:18:20 | 0:18:23 | |
It was a very...important stage in my development as a sculptor. | 0:18:23 | 0:18:30 | |
Also, I was in this, getting the freedom to... | 0:18:30 | 0:18:37 | |
..mix forms... | 0:18:38 | 0:18:40 | |
the forms of one thing with the forms of another, and yet, | 0:18:40 | 0:18:43 | |
perhaps making a unit, a kind of organic unit out of the whole. | 0:18:43 | 0:18:50 | |
And this I've done at later times. | 0:18:50 | 0:18:53 | |
I mean, here is the back view of a figure. | 0:18:53 | 0:18:56 | |
This is a kind of egg. | 0:18:56 | 0:18:57 | |
This is the sort of head and it has... | 0:18:57 | 0:19:01 | |
The whole has some sort of sense of a jug, but it is an organic form. | 0:19:01 | 0:19:08 | |
And I remember a little child, my niece, I think, who was very young, | 0:19:08 | 0:19:12 | |
when she first saw this, she said, "Oh, an elephant in an armchair." | 0:19:12 | 0:19:16 | |
HE CHUCKLES Which was a, er... | 0:19:16 | 0:19:18 | |
I was very pleased that she had felt some real object, some real... | 0:19:18 | 0:19:23 | |
..person. | 0:19:24 | 0:19:25 | |
JOHN READ: Sometimes Henry Moore's simple, common-sense explanations | 0:19:32 | 0:19:35 | |
seemed a bit too simple when one thought about the works that he made. | 0:19:35 | 0:19:39 | |
He was always ready to explain the sturdy dimensions | 0:19:40 | 0:19:42 | |
of his female figures by telling that old story of his | 0:19:42 | 0:19:45 | |
about how he used to rub his mother's back as a child | 0:19:45 | 0:19:47 | |
to help her with her rheumatism. | 0:19:47 | 0:19:50 | |
It's certainly true that his chief muse was an earth mother, | 0:19:50 | 0:19:53 | |
but I wonder sometimes | 0:19:53 | 0:19:55 | |
if there wasn't also a Venus or an Aphrodite in the background. | 0:19:55 | 0:19:57 | |
Some of his work seems to me to be sensual and tender, | 0:20:01 | 0:20:04 | |
extremely beautiful and sexually overt. | 0:20:04 | 0:20:07 | |
But the erotic content - if that's what we can call it - | 0:20:07 | 0:20:09 | |
was something he wasn't at all anxious to talk about. | 0:20:09 | 0:20:12 | |
The whole of life is... | 0:20:15 | 0:20:17 | |
..is made up of the... | 0:20:19 | 0:20:20 | |
I mean, if you want to look and if you want to interpret form | 0:20:22 | 0:20:27 | |
from this point of view, | 0:20:27 | 0:20:28 | |
then everything is...sex. | 0:20:28 | 0:20:33 | |
And the appreciation, | 0:20:34 | 0:20:37 | |
everybody's appreciation of form is built on this appreciation of sex. | 0:20:37 | 0:20:43 | |
I think that my... | 0:20:45 | 0:20:47 | |
Part of my early training as a young sculptor comes from being... | 0:20:47 | 0:20:53 | |
going to a mixed secondary school... | 0:20:53 | 0:20:56 | |
..where I could look at all the girls' legs, | 0:20:57 | 0:21:01 | |
all from the age of 12 or 13 | 0:21:01 | 0:21:03 | |
and I could tell you in the school any... | 0:21:03 | 0:21:07 | |
which girl was which, if you'd only shown me her figure | 0:21:07 | 0:21:12 | |
from the knee downwards. | 0:21:12 | 0:21:14 | |
This was... Some of this... I mean, this is a... | 0:21:14 | 0:21:17 | |
But it isn't that thing that you mean. | 0:21:17 | 0:21:20 | |
I mean, the fullness of form. | 0:21:20 | 0:21:24 | |
The tautness of form, all these things are connected with life | 0:21:24 | 0:21:28 | |
and life is sex and so on. | 0:21:28 | 0:21:29 | |
So, it's not a... | 0:21:29 | 0:21:33 | |
It's not a conscious theme that you'll use your brain over. | 0:21:35 | 0:21:40 | |
I suppose to many people, especially in the '40s and '50s, | 0:21:40 | 0:21:43 | |
Henry Moore was best known as the man who made sculptures with a hole in. | 0:21:43 | 0:21:46 | |
In fact, of course, | 0:21:46 | 0:21:48 | |
the thing he was best known for was the reclining figure. | 0:21:48 | 0:21:51 | |
But these reclining figures, | 0:21:51 | 0:21:52 | |
many of which he did just before the war, beautiful though they were, | 0:21:52 | 0:21:55 | |
were only really admired and known about by a few people. | 0:21:55 | 0:21:58 | |
The work that made him famous in the popular mind were his drawings, | 0:21:59 | 0:22:02 | |
not his sculptures, | 0:22:02 | 0:22:03 | |
and these drawings came about when the war started | 0:22:03 | 0:22:06 | |
and his friend, Kenneth Clark, | 0:22:06 | 0:22:07 | |
who was then director of the National Gallery, | 0:22:07 | 0:22:10 | |
appointed him as a war artist. | 0:22:10 | 0:22:12 | |
MOORE: 'I used to go into London, two or three days a week, | 0:22:12 | 0:22:15 | |
'to do my shelter drawings.' | 0:22:15 | 0:22:17 | |
'It's curious how they all started. | 0:22:19 | 0:22:21 | |
'To begin with, I hadn't wanted to be a war artist, | 0:22:21 | 0:22:25 | |
'although I had been asked to be.' | 0:22:25 | 0:22:27 | |
'Because, to me, there seemed no...' | 0:22:28 | 0:22:30 | |
'..nothing unusual and nothing different | 0:22:31 | 0:22:34 | |
'in that early period of so-called Phoney War | 0:22:34 | 0:22:37 | |
'that made any new experience or gave me any new experiences. | 0:22:37 | 0:22:41 | |
'But this particular night, | 0:22:41 | 0:22:43 | |
'for some reason or other we came back by Tube, | 0:22:43 | 0:22:46 | |
'and it was then that I first saw the shelterers down the Tube.' | 0:22:46 | 0:22:51 | |
I began to be fascinated by all the people, | 0:22:52 | 0:22:55 | |
the kind of family life that they were leading | 0:22:55 | 0:22:58 | |
and these children, still fast asleep, | 0:22:58 | 0:23:02 | |
although the trains were rattling by and making a terrific din. | 0:23:02 | 0:23:06 | |
And there, stretched out in front of me, | 0:23:06 | 0:23:10 | |
were rows and rows of reclining figures... | 0:23:10 | 0:23:13 | |
Henry Moore reclining figures. | 0:23:13 | 0:23:15 | |
One imagined that perhaps there'd never been scenes like that, | 0:23:22 | 0:23:26 | |
so gentle, | 0:23:26 | 0:23:27 | |
except perhaps when the slaves were all being exported | 0:23:27 | 0:23:31 | |
from Africa to America. | 0:23:31 | 0:23:34 | |
In the hulls of slave ships, | 0:23:34 | 0:23:36 | |
people would be all crowded together like that, probably. | 0:23:36 | 0:23:39 | |
Sometimes, like in this, | 0:23:47 | 0:23:49 | |
I was trying to make two people there seem as though they were a sculpture | 0:23:49 | 0:23:54 | |
or in a tomb because down below it did feel sometimes like a tomb. | 0:23:54 | 0:23:58 | |
So occasionally, my sculptural interests come into it, | 0:24:00 | 0:24:05 | |
and I may...distort figures or change them for sculptural purposes. | 0:24:05 | 0:24:11 | |
But ordinarily, it was me trying to record the... | 0:24:11 | 0:24:16 | |
..experiences that one had, because it was intensely human. | 0:24:17 | 0:24:21 | |
There was even humour and so on, occasionally. It was a very... | 0:24:21 | 0:24:25 | |
And...here there are distortions in a way that, | 0:24:26 | 0:24:30 | |
like the thinness of the legs, | 0:24:30 | 0:24:32 | |
and the pointedness that they are to give, well, | 0:24:32 | 0:24:35 | |
something not consciously, | 0:24:35 | 0:24:37 | |
but sometimes pointed forms give a kind of sense of fear, | 0:24:37 | 0:24:40 | |
which other forms don't. | 0:24:40 | 0:24:42 | |
It was something of a paradox, wasn't it, | 0:24:43 | 0:24:45 | |
that what Henry Moore became famous for was not the open air | 0:24:45 | 0:24:49 | |
and the human figure in the landscape, | 0:24:49 | 0:24:51 | |
which was what he believed in, | 0:24:51 | 0:24:53 | |
but for these figures trapped and enclosed underground in the dark. | 0:24:53 | 0:24:56 | |
But, of course, his greatest single contribution, I think, | 0:24:56 | 0:24:59 | |
to the art of sculpture, was his idea of being able to combine | 0:24:59 | 0:25:02 | |
one's feeling about the landscape and one's feeling about the human figure. | 0:25:02 | 0:25:06 | |
Not as two separate things, but as one single image. | 0:25:06 | 0:25:09 | |
He saw the figure as a landscape, he saw the landscape as a figure. | 0:25:09 | 0:25:13 | |
A romantic idea - a romantic tradition in English literature | 0:25:13 | 0:25:16 | |
and in English painting - combined now in one single body of work. | 0:25:16 | 0:25:20 | |
One of the most characteristic qualities of Moore's work | 0:25:24 | 0:25:26 | |
is the way in which the contours and shapes of the human figure | 0:25:26 | 0:25:29 | |
are used to echo certain qualities of landscape. | 0:25:29 | 0:25:32 | |
For the first time in the whole history of art, | 0:25:33 | 0:25:35 | |
a sculptor has successfully extended his subject | 0:25:35 | 0:25:38 | |
to incorporate landscape, | 0:25:38 | 0:25:40 | |
which hitherto, had remained the painter's domain. | 0:25:40 | 0:25:43 | |
The flow of a skyline. | 0:25:44 | 0:25:46 | |
The slope of a hill. | 0:25:46 | 0:25:48 | |
The qualities of light and shade and of space out in the open | 0:25:48 | 0:25:52 | |
can affect a sculptor as much as a painter. | 0:25:52 | 0:25:55 | |
Poets, painters, writers and particularly English artists | 0:25:55 | 0:25:59 | |
have a long tradition of romantic absorption | 0:25:59 | 0:26:01 | |
in the emotional relationships | 0:26:01 | 0:26:03 | |
between man and the natural world in which he lives. | 0:26:03 | 0:26:06 | |
This very special sculptural quality of landscape, | 0:26:25 | 0:26:28 | |
rather strange and wild, immensely powerful and monumental, | 0:26:28 | 0:26:31 | |
was certainly something Moore knew all about | 0:26:31 | 0:26:34 | |
from his childhood excursions on the Yorkshire moors. | 0:26:34 | 0:26:37 | |
In the quiet, civilised fields of Hertfordshire, | 0:26:59 | 0:27:02 | |
his sculptures generated this same power. | 0:27:02 | 0:27:05 | |
A leg is clothed in a massive cliff face of drapery, | 0:27:06 | 0:27:11 | |
which flows over a body whose trunk is as strong as the trunk of a tree. | 0:27:11 | 0:27:14 | |
The shoulder supported on the arm is a hill | 0:27:15 | 0:27:19 | |
and the head almost a monument or a lookout post on a summit. | 0:27:19 | 0:27:23 | |
An enclosed field with summer trees and hedges | 0:27:28 | 0:27:31 | |
becomes a place of mystery. | 0:27:31 | 0:27:32 | |
Figures half in sun, half in shade | 0:27:32 | 0:27:35 | |
seem to exercise an ancient and uncanny spell. | 0:27:35 | 0:27:38 | |
Their bony, fossil-like forms are smooth, immensely strong | 0:27:39 | 0:27:43 | |
and seem as old as life itself. | 0:27:43 | 0:27:45 | |
RHYTHMIC DRUMMING | 0:27:45 | 0:27:47 | |
WIND HOWLS | 0:28:13 | 0:28:16 | |
There is a remote glen in Scotland which has become | 0:28:16 | 0:28:18 | |
a kind of sculpture valley. | 0:28:18 | 0:28:21 | |
By a deserted track, a solitary figure stands like a sentinel... | 0:28:21 | 0:28:25 | |
and the winds blow between its slender limbs. | 0:28:25 | 0:28:28 | |
Nearby on rising ground, another group sits in a position of command. | 0:28:37 | 0:28:40 | |
They embody the idea of royalty. | 0:28:41 | 0:28:44 | |
The heads of this king and queen are abstracted into shapes | 0:28:45 | 0:28:47 | |
which combine ancient symbols of majesty - | 0:28:47 | 0:28:50 | |
the bird head, the beak, the beard, the crown. | 0:28:50 | 0:28:55 | |
They have about them a fierceness too, | 0:28:57 | 0:28:59 | |
appropriate to the authority of tribal rulers. | 0:28:59 | 0:29:02 | |
SINISTER MUSIC | 0:29:06 | 0:29:08 | |
Yet, in details, the sculptor's vision is intensely realistic, | 0:29:16 | 0:29:19 | |
suggesting the ordinary humanity behind the symbols of regal power. | 0:29:19 | 0:29:23 | |
The bodies are smoothed and rounded | 0:29:25 | 0:29:27 | |
as though moulded and weathered by the elements | 0:29:27 | 0:29:29 | |
into forms of sinuous strength. | 0:29:29 | 0:29:31 | |
The king and queen are guardians and rulers of the kingdom | 0:29:53 | 0:29:56 | |
that stretches beneath their gaze to the distant border. | 0:29:56 | 0:29:59 | |
Behind, an immense monument in bronze, | 0:30:03 | 0:30:06 | |
a tonne in weight, rests on the hilltop. | 0:30:06 | 0:30:09 | |
It can be seen like a beacon for miles away. | 0:30:09 | 0:30:11 | |
It stands exposed like a massive boulder, | 0:30:11 | 0:30:15 | |
left there by a glacier thousands of years ago. | 0:30:15 | 0:30:17 | |
Moore calls this a crucifixion thorn, | 0:30:18 | 0:30:21 | |
combining in it suggestions of a cross, | 0:30:21 | 0:30:24 | |
a severed torso and human suffering. | 0:30:24 | 0:30:28 | |
In 1963, then 65 years old, | 0:30:37 | 0:30:40 | |
Henry Moore received the highest award | 0:30:40 | 0:30:43 | |
that a civilian can receive in Britain. | 0:30:43 | 0:30:45 | |
He was given the Order of Merit. | 0:30:45 | 0:30:46 | |
Now, that might have been a point, you would think, | 0:30:47 | 0:30:50 | |
for him to put his feet up and to retire, | 0:30:50 | 0:30:52 | |
but in fact, he was at his creative peak | 0:30:52 | 0:30:54 | |
and artists, indeed, don't retire. | 0:30:54 | 0:30:57 | |
He'd already started dividing up the reclining figure into two pieces, | 0:30:57 | 0:31:01 | |
three pieces, four pieces. | 0:31:01 | 0:31:02 | |
There were entirely new ideas and themes emerging. | 0:31:02 | 0:31:04 | |
One of the best sculptures of that time, I think, | 0:31:06 | 0:31:08 | |
was his Atom Piece, which dealt with the whole business of atomic power | 0:31:08 | 0:31:12 | |
and atomic energy within one symbol that he invented. | 0:31:12 | 0:31:14 | |
He also was able to really do anything he wanted | 0:31:15 | 0:31:18 | |
in terms of size and scale, there were no technical limits any longer | 0:31:18 | 0:31:21 | |
to what he could do, there were no financial limits. | 0:31:21 | 0:31:24 | |
He also began to go to Italy | 0:31:26 | 0:31:28 | |
and there he bought a small two-bedroom villa, | 0:31:28 | 0:31:30 | |
a very modest place, in a little seaside town | 0:31:30 | 0:31:33 | |
that was called Forte dei Marmi. | 0:31:33 | 0:31:35 | |
Now, Moore was not really the man for family holidays, | 0:31:35 | 0:31:38 | |
there was always a reason behind these trips abroad. | 0:31:38 | 0:31:41 | |
And Forte dei Marmi was very near the marble quarries, | 0:31:41 | 0:31:44 | |
the very famous Carrara marble quarries, | 0:31:44 | 0:31:47 | |
where Michelangelo had worked. | 0:31:47 | 0:31:49 | |
To the chemist, marble is just calcium carbonate. | 0:31:53 | 0:31:57 | |
To the workers in the mountain villages, it's a job. | 0:31:57 | 0:32:00 | |
To the directors of the Henraux quarries, | 0:32:02 | 0:32:04 | |
where Michelangelo got his stone... | 0:32:04 | 0:32:06 | |
it's almost a religion, a mystique. | 0:32:06 | 0:32:09 | |
WINCH SQUEAKS | 0:32:16 | 0:32:18 | |
MECHANICAL CLANGING | 0:32:18 | 0:32:21 | |
MECHANICAL THRUMMING | 0:32:21 | 0:32:23 | |
MECHANICAL CLANGING | 0:32:27 | 0:32:29 | |
CLINKING OF METAL TOOLS | 0:32:32 | 0:32:33 | |
MAN CALLS OUT COMMAND | 0:32:33 | 0:32:35 | |
CYCLE REPEATS | 0:32:35 | 0:32:38 | |
Moore, of course, doesn't work up in the mountains, | 0:32:57 | 0:32:59 | |
but he never fails to get there every year, | 0:32:59 | 0:33:02 | |
to Altissimo, the highest peak, | 0:33:02 | 0:33:04 | |
and to talk to people who go with him about Michelangelo. | 0:33:04 | 0:33:08 | |
MOORE: 'Perhaps I've got a tremendous admiration | 0:33:08 | 0:33:12 | |
'and obsession almost with Michelangelo.' | 0:33:12 | 0:33:14 | |
'And to be up in the very same mountain | 0:33:15 | 0:33:19 | |
'and to have pointed out to me | 0:33:19 | 0:33:22 | |
'the cave where Michelangelo quarried some of the stone | 0:33:22 | 0:33:25 | |
'and to realise what difficulties he must have had, | 0:33:25 | 0:33:29 | |
'what superhuman problems he had to cope with. | 0:33:29 | 0:33:34 | |
'That, plus the unbelievable romantic impression, | 0:33:34 | 0:33:41 | |
'the spectacular scenery... | 0:33:41 | 0:33:44 | |
'He is rather like a runner who could run a four-minute mile, | 0:33:44 | 0:33:47 | |
'but Michelangelo could run a three-minute mile. | 0:33:47 | 0:33:50 | |
'This sort of admiration that one has, as I look at the Altissimo, | 0:33:50 | 0:33:55 | |
'all this comes back, | 0:33:55 | 0:33:57 | |
'and so it's all mixed up with one's feeling for Michelangelo. | 0:33:57 | 0:34:02 | |
'He'd have a stronger feeling about the marble than we have | 0:34:02 | 0:34:05 | |
'because he had to quarry it himself, | 0:34:05 | 0:34:09 | |
'but I have the advantage, as we all have now, | 0:34:09 | 0:34:13 | |
'of choosing the stone after it's been quarried for us. | 0:34:13 | 0:34:16 | |
'We don't have to do all that terrific work. | 0:34:16 | 0:34:20 | |
'I mean, some of us may grumble, some of us may... | 0:34:20 | 0:34:23 | |
'think that we have difficult problems, | 0:34:23 | 0:34:27 | |
'but our problems are nothing compared with what...' | 0:34:27 | 0:34:30 | |
'..a person like Michelangelo and the problems he had.' | 0:34:31 | 0:34:34 | |
I think somehow in Italy, | 0:34:34 | 0:34:36 | |
Moore found that the association with Carrara | 0:34:36 | 0:34:39 | |
was in some way fulfilling his destiny. | 0:34:39 | 0:34:42 | |
This feeling that he had for Michelangelo | 0:34:42 | 0:34:44 | |
was really quite deep and profound within him. | 0:34:44 | 0:34:47 | |
And, of course, it was quite widely shared there in Italy. | 0:34:47 | 0:34:50 | |
He used to go to a little beach hut. | 0:34:50 | 0:34:52 | |
He didn't go to any of the grand hotels or to the beach clubs | 0:34:52 | 0:34:55 | |
or any of the fashionable places, | 0:34:55 | 0:34:57 | |
but each year to exactly the same place, a little row of huts. | 0:34:57 | 0:34:59 | |
And the old lady who was in charge of these huts | 0:34:59 | 0:35:02 | |
got to know him very well. | 0:35:02 | 0:35:04 | |
I borrowed his hut for a day on the beach and when we went down | 0:35:04 | 0:35:08 | |
and introduced myself, she said, "Ah, Henry Moore," she said. | 0:35:08 | 0:35:12 | |
And then the most eloquent gesture, | 0:35:12 | 0:35:14 | |
she pressed her knuckles onto her forehead - | 0:35:14 | 0:35:16 | |
"Henry Moore, Michelangelo". | 0:35:16 | 0:35:18 | |
'He was very fond of games, very great sense of fun.' | 0:35:21 | 0:35:23 | |
'Sometimes this came out in the things that he did | 0:35:24 | 0:35:27 | |
'whilst you were talking quite seriously.' | 0:35:27 | 0:35:29 | |
In fact, Henry Moore never switched off the sculptural part of his mind. | 0:35:29 | 0:35:33 | |
As you were sitting there with him, | 0:35:33 | 0:35:35 | |
he was quite literally sizing you up, weighing you up. | 0:35:35 | 0:35:39 | |
I can think of several instances of a sort of instinct | 0:35:39 | 0:35:42 | |
that was always there. | 0:35:42 | 0:35:43 | |
Talking with him about sculpture and his interlocking pieces, | 0:35:43 | 0:35:46 | |
he simply illustrated the idea by taking some potato crisps | 0:35:46 | 0:35:50 | |
out of the basin on the bar | 0:35:50 | 0:35:52 | |
and fixing them together in different ways to make his point. | 0:35:52 | 0:35:55 | |
Another time, after we had been filming, | 0:35:55 | 0:35:57 | |
we were sitting having dinner in the hotel | 0:35:57 | 0:35:59 | |
and enjoying the meal and enjoying the chianti, | 0:35:59 | 0:36:02 | |
and he suddenly looked at me and said, | 0:36:02 | 0:36:05 | |
"I bet I can tell you the circumference of your head." | 0:36:05 | 0:36:08 | |
Well, I haven't the foggiest idea. | 0:36:08 | 0:36:10 | |
But he guessed and he measured it with a tape measure | 0:36:10 | 0:36:13 | |
cos he always carried a tape measure in his pocket. | 0:36:13 | 0:36:15 | |
You would never find Henry Moore anywhere in the world | 0:36:15 | 0:36:17 | |
without this little tape measure. | 0:36:17 | 0:36:19 | |
And he measured my head and he got it right within quarter of an inch. | 0:36:19 | 0:36:22 | |
He then went round everybody else in the film unit - | 0:36:22 | 0:36:24 | |
the production assistant, the camera and the camera assistant, | 0:36:24 | 0:36:27 | |
the sound recordist - measured all their heads, | 0:36:27 | 0:36:29 | |
got every one of them absolutely dead right. | 0:36:29 | 0:36:31 | |
And we were very impressed with this | 0:36:31 | 0:36:33 | |
so we went into the hotel lounge for coffee. | 0:36:33 | 0:36:34 | |
It was a very respectable hotel, and we sat down on the chintz sofa | 0:36:34 | 0:36:39 | |
and we said, "Well, come on, Henry, how high is the coffee table?" | 0:36:39 | 0:36:42 | |
He took out his tape measure - "23 inches." | 0:36:42 | 0:36:45 | |
It was, he had won again. | 0:36:45 | 0:36:47 | |
"How high is the lamp standard? What about the sideboard?" | 0:36:47 | 0:36:50 | |
And here was this amazing scene and England's greatest sculptor | 0:36:50 | 0:36:53 | |
on his hands and knees with a tape measure, measuring up | 0:36:53 | 0:36:55 | |
all the furniture to the rather tipsy applause of the film crew. | 0:36:55 | 0:36:59 | |
In 1972, now in his 74th year, | 0:37:01 | 0:37:04 | |
the mayor of Florence invited Moore to arrange an exhibition | 0:37:04 | 0:37:07 | |
in the grounds of the Belvedere fortress that overlooked the city. | 0:37:07 | 0:37:10 | |
It was to be the most spectacular and comprehensive exhibition | 0:37:11 | 0:37:13 | |
of his lifetime. | 0:37:13 | 0:37:14 | |
It was in a wonderful open-air setting, | 0:37:15 | 0:37:18 | |
in the brilliant Italian sunshine | 0:37:18 | 0:37:19 | |
and surrounded by some of the greatest art of the Renaissance. | 0:37:19 | 0:37:21 | |
At the time, Moore saw the opportunity as a challenge | 0:37:22 | 0:37:25 | |
to show that his own work could stand in comparison | 0:37:25 | 0:37:28 | |
with the best of the Renaissance, with Masaccio and Michelangelo. | 0:37:28 | 0:37:31 | |
He had, after all, been to Florence as a student, | 0:37:31 | 0:37:33 | |
many, many years before to study just those very works. | 0:37:33 | 0:37:37 | |
Looking back on that exhibition now, | 0:37:37 | 0:37:39 | |
it seems to me that it was a triumph of vindication. | 0:37:39 | 0:37:42 | |
Not only of the authority of Henry Moore's work, | 0:37:42 | 0:37:44 | |
but also of the whole modern movement. | 0:37:44 | 0:37:47 | |
In four months, nearly 400,000 people came from all over the world | 0:37:48 | 0:37:52 | |
to see the exhibition. | 0:37:52 | 0:37:54 | |
Nothing could have been less like the inhibiting atmosphere | 0:37:54 | 0:37:57 | |
of a museum or gallery. | 0:37:57 | 0:37:59 | |
The placing of modern sculpture in a setting of Renaissance beauty | 0:38:01 | 0:38:04 | |
was a provocative act of faith. | 0:38:04 | 0:38:07 | |
The mood of the visitors was easy and relaxed, | 0:38:07 | 0:38:10 | |
for in Florence art is taken for granted as a natural part of life. | 0:38:10 | 0:38:14 | |
The citizens of Florence took the exhibition to their hearts | 0:38:19 | 0:38:22 | |
and proudly put its exhibits to uses the artist had not foreseen. | 0:38:22 | 0:38:27 | |
Sculptures were photographed | 0:38:27 | 0:38:29 | |
as if they were film stars, religious relics or fashion models. | 0:38:29 | 0:38:33 | |
At times, the terraces of the Belvedere | 0:38:45 | 0:38:47 | |
had the atmosphere of a fairground or festival. | 0:38:47 | 0:38:50 | |
It was a public pleasure ground, filled with movement and people | 0:38:50 | 0:38:54 | |
and prospects of sculpture that continually changed | 0:38:54 | 0:38:57 | |
with the time of day or the vagaries of the weather. | 0:38:57 | 0:39:00 | |
THUNDER RUMBLES | 0:39:01 | 0:39:03 | |
In the Renaissance, Michelangelo had nothing worse to face | 0:39:08 | 0:39:11 | |
than the patient and deferential Vasari, | 0:39:11 | 0:39:14 | |
the first biographer of the great artists of his time. | 0:39:14 | 0:39:17 | |
Moore turned out in the rain to face television cameras | 0:39:19 | 0:39:22 | |
and journalists with deadlines to meet and planes to catch. | 0:39:22 | 0:39:25 | |
The great cathedral dome by Brunelleschi, | 0:39:31 | 0:39:33 | |
the famous tower designed by Giotto, | 0:39:33 | 0:39:35 | |
the museums and churches filled with works | 0:39:35 | 0:39:38 | |
by Fra Angelico, Botticelli, Masaccio and Michelangelo | 0:39:38 | 0:39:41 | |
all slipped by, | 0:39:41 | 0:39:43 | |
an out-of-focus backdrop to a modern artist in the news. | 0:39:43 | 0:39:46 | |
The big sculptures in the open air, each one sited by Moore himself, | 0:39:52 | 0:39:56 | |
were what made this exhibition unique. | 0:39:56 | 0:39:59 | |
One would have had to travel the world | 0:39:59 | 0:40:00 | |
to see so much at any other time. | 0:40:00 | 0:40:03 | |
This two-piece reclining figure is Moore's half-scale model | 0:40:16 | 0:40:19 | |
for a work which stands in the Lincoln Center, New York. | 0:40:19 | 0:40:22 | |
Oval with Points is one of his latest pieces. | 0:40:25 | 0:40:28 | |
One edition of this is at Princeton University, America. | 0:40:28 | 0:40:31 | |
This reclining figure, made in the 1950s, | 0:40:32 | 0:40:34 | |
is the model for the much larger UNESCO figure, | 0:40:34 | 0:40:37 | |
which stands in Paris, carved from Roman travertine marble. | 0:40:37 | 0:40:40 | |
Crucifixion Form, bronze, 1955. | 0:40:46 | 0:40:50 | |
The best-known version of this stands on the top of a mountain in Scotland. | 0:40:50 | 0:40:53 | |
Reclining Figure: Arch Leg. One copy in California, another in Jerusalem. | 0:41:02 | 0:41:07 | |
Torso, 1967. There are nine casting of this. | 0:41:12 | 0:41:17 | |
There is such a demand for Moore's work | 0:41:17 | 0:41:19 | |
that editions of six or seven are quite usual. | 0:41:19 | 0:41:22 | |
King and Queen, 1952. | 0:41:27 | 0:41:29 | |
There are editions of this | 0:41:29 | 0:41:31 | |
in Scotland, London, Germany and New York. | 0:41:31 | 0:41:33 | |
Square Form with Cut, 1970, | 0:41:34 | 0:41:37 | |
solid marble from Carrara. | 0:41:37 | 0:41:40 | |
JOHN READ: Of course, at the time nobody believed for a minute | 0:41:49 | 0:41:52 | |
that that retrospective exhibition in Florence was going to be | 0:41:52 | 0:41:54 | |
the last Henry Moore retrospective. | 0:41:54 | 0:41:56 | |
In fact, his exhibitions continued year after year | 0:41:56 | 0:41:59 | |
in almost every country in the world. | 0:41:59 | 0:42:01 | |
But sculpture is a tough, hard trade, | 0:42:01 | 0:42:04 | |
and gradually, as he got older, Moore turned more and more to drawing. | 0:42:04 | 0:42:08 | |
Now, drawing he used to do | 0:42:08 | 0:42:09 | |
simply to find out what he wanted to do in sculpture. | 0:42:09 | 0:42:12 | |
It was a means to an end or a way of training his eye. | 0:42:12 | 0:42:14 | |
But now he was doing drawing for its own sake. | 0:42:14 | 0:42:16 | |
HENRY MOORE: I've always been fascinated by sheep. | 0:42:18 | 0:42:20 | |
I think there's something about sheep which no other animal, | 0:42:20 | 0:42:24 | |
er, for me, has quite that ancient... | 0:42:24 | 0:42:28 | |
biblical, er, quality. | 0:42:28 | 0:42:32 | |
And I began drawing the sheep, | 0:42:32 | 0:42:34 | |
just merely because I couldn't do my sculpture, | 0:42:34 | 0:42:37 | |
not because I intend doing, um...a sculpture sheep | 0:42:37 | 0:42:42 | |
but merely because I enjoy drawing... | 0:42:42 | 0:42:44 | |
..and I enjoy sheep, | 0:42:45 | 0:42:48 | |
so that, for two or three weeks, while the packing was going on, | 0:42:48 | 0:42:53 | |
I came down here each day and drew the sheep. | 0:42:53 | 0:42:58 | |
And one of the things that I found one could do | 0:42:58 | 0:43:02 | |
was that, if they came near the window, by tapping on the window, | 0:43:02 | 0:43:07 | |
the sheep couldn't see inside, | 0:43:07 | 0:43:08 | |
because it's darker in here than it is in the field, | 0:43:08 | 0:43:11 | |
but they were curious. They could hear. | 0:43:11 | 0:43:13 | |
And they'd stand, even for five minutes, | 0:43:13 | 0:43:16 | |
just looking in this way, just looking through, | 0:43:16 | 0:43:21 | |
trying to find out where the noise came from, | 0:43:21 | 0:43:25 | |
and they'd stay like that for nearly five minutes, | 0:43:25 | 0:43:28 | |
giving me the chance to draw them. | 0:43:28 | 0:43:29 | |
Same, er... | 0:43:32 | 0:43:33 | |
So... | 0:43:37 | 0:43:38 | |
But gradually, | 0:43:39 | 0:43:41 | |
I got to understand the shape of the sheep better through drawing them. | 0:43:41 | 0:43:45 | |
To begin with, they were just round, fluffy lumps, | 0:43:45 | 0:43:50 | |
balls of wool, it seemed. | 0:43:50 | 0:43:53 | |
But underneath that, one discovered that of course there is the, um... | 0:43:53 | 0:43:57 | |
..the skeleton and the form of the sheep. | 0:43:59 | 0:44:02 | |
And gradually, I went on drawing them, | 0:44:02 | 0:44:04 | |
I understood the shape of the sheep. | 0:44:04 | 0:44:07 | |
Now I find that I can draw for its own sake, | 0:44:08 | 0:44:13 | |
and not as I used to, | 0:44:13 | 0:44:16 | |
with an ultimate motive in the drawing of using it for sculpture. | 0:44:16 | 0:44:21 | |
Now I can draw and just enjoy the drawing, | 0:44:21 | 0:44:26 | |
just enjoy drawing from life, drawing from nature. | 0:44:26 | 0:44:30 | |
But I shall finish this, probably, as a kind of life cycle of sheep, | 0:44:30 | 0:44:35 | |
because after this period, which I missed by being in Italy, | 0:44:35 | 0:44:39 | |
there's a period when the sheep are shorn, | 0:44:39 | 0:44:41 | |
and then they become entirely different creatures. | 0:44:41 | 0:44:44 | |
I saw it happen, but I wasn't able to spend the time drawing. | 0:44:44 | 0:44:49 | |
You must be able to guess the right, er, proportions, otherwise you won't. | 0:44:49 | 0:44:55 | |
I mean, your eye has to be a correct eye. | 0:44:55 | 0:44:58 | |
You must know whether a thing is too black or too light, | 0:44:58 | 0:45:01 | |
but it isn't the black and the lightness, and it isn't the... | 0:45:01 | 0:45:05 | |
You've got to think of it as form, you've got to use perspective. | 0:45:05 | 0:45:08 | |
A thing that comes nearer to you | 0:45:08 | 0:45:10 | |
is bigger than a thing that's further away. | 0:45:10 | 0:45:12 | |
And often, with students drawing a figure, like me drawing you, | 0:45:12 | 0:45:17 | |
they'll make, instead of making your foot and knee bigger in proportion, | 0:45:17 | 0:45:22 | |
the same kind of length to it that it would be if you were standing up | 0:45:22 | 0:45:27 | |
and all in the same plane. | 0:45:27 | 0:45:30 | |
All those kind of things are things that one learns | 0:45:30 | 0:45:34 | |
only by a lot of thinking. | 0:45:34 | 0:45:37 | |
I mean, again, people think that artists | 0:45:37 | 0:45:40 | |
are people that work for pleasure, by instinct, | 0:45:40 | 0:45:44 | |
and without ever using their minds. | 0:45:44 | 0:45:47 | |
There's a bigger intellectual effort in learning to draw properly, | 0:45:47 | 0:45:52 | |
which Leonardo showed it and Michelangelo showed it. | 0:45:52 | 0:45:55 | |
Those had great intellects. | 0:45:55 | 0:45:56 | |
It isn't a God-given gift to everybody, that they can just draw. | 0:45:56 | 0:46:02 | |
Lately, I've been drawing trees, | 0:46:03 | 0:46:05 | |
because the trunks of trees are remarkably like human figures. | 0:46:05 | 0:46:11 | |
I do a close-up. | 0:46:13 | 0:46:14 | |
This, to me, is like a knuckle or a knee or a breast, | 0:46:14 | 0:46:20 | |
but there is the solidity and the body, the meat in it. | 0:46:20 | 0:46:26 | |
And here I was just drawing the trunk and the kind of mother and child, | 0:46:26 | 0:46:29 | |
or the big and the small, the big trunk and then the ivy growing up it. | 0:46:29 | 0:46:34 | |
I think if I were an educationalist, | 0:46:34 | 0:46:37 | |
I'd suggest that drawing should be made | 0:46:37 | 0:46:39 | |
much more necessary or regular in schools, | 0:46:39 | 0:46:43 | |
not because you're trying to make | 0:46:43 | 0:46:46 | |
a nation of painters or sculptors or artists | 0:46:46 | 0:46:49 | |
but only because you teach grammar and literature | 0:46:49 | 0:46:52 | |
not because you're trying to make another lot of Shakespeares | 0:46:52 | 0:46:55 | |
but to make them understand and use language. | 0:46:55 | 0:46:57 | |
Well, in the same way, | 0:46:57 | 0:46:59 | |
I think drawing is a tremendous eye-opener to people, | 0:46:59 | 0:47:04 | |
and it would make their lives much richer. | 0:47:04 | 0:47:06 | |
Moore, I think, somewhere talked about art as being | 0:47:09 | 0:47:12 | |
a stimulation to greater effort in living, | 0:47:12 | 0:47:15 | |
"effort" rather than "enjoyment". | 0:47:15 | 0:47:17 | |
But then, for him, you see, work WAS enjoyment. | 0:47:17 | 0:47:19 | |
I once asked him what he felt | 0:47:20 | 0:47:23 | |
about the general attitude to culture in a modern age.... | 0:47:23 | 0:47:27 | |
..because there are times, in fact, when one wonders, really, | 0:47:28 | 0:47:31 | |
whether there are not more important things than the arts. | 0:47:31 | 0:47:34 | |
And he admitted with me that, in fact, | 0:47:34 | 0:47:36 | |
for many people the arts were not the most important thing in life, | 0:47:36 | 0:47:39 | |
not, certainly, as important to them | 0:47:39 | 0:47:41 | |
as they would be to him, to a practising artist. | 0:47:41 | 0:47:43 | |
But, he said, can you name a single civilisation in the past | 0:47:43 | 0:47:48 | |
which we don't know about through its arts and its crafts | 0:47:48 | 0:47:51 | |
rather than its laws or any other aspects, its politics? | 0:47:51 | 0:47:54 | |
It's the arts and the crafts by which we judge them. | 0:47:54 | 0:47:57 | |
And he said, every time in history when a civilisation goes down, | 0:47:57 | 0:48:01 | |
the arts decay first. | 0:48:01 | 0:48:03 | |
Art, he said, is really like in a chemical formula, | 0:48:03 | 0:48:08 | |
the thing that they call a catalytic agent. | 0:48:08 | 0:48:10 | |
It's a tiny, tiny, small element within the whole, | 0:48:10 | 0:48:15 | |
and yet without it nothing happens. | 0:48:15 | 0:48:17 | |
Art, to him, is the catalyst of society and of civilisation. | 0:48:17 | 0:48:22 | |
When he could work no more with the solid forms of sculpture, | 0:48:23 | 0:48:27 | |
his mind turned to imaginary visions, | 0:48:27 | 0:48:29 | |
mysterious images where forms emerge from darkness. | 0:48:29 | 0:48:32 | |
In fluid and airy drawings | 0:48:32 | 0:48:34 | |
there were vague suggestions of shapes and hills, spires, | 0:48:34 | 0:48:38 | |
and one felt the mists might clear | 0:48:38 | 0:48:41 | |
and a new world of form might be revealed. | 0:48:41 | 0:48:43 | |
Now, around the fields and woods of the countryside, | 0:48:50 | 0:48:52 | |
where he has worked for so many years, | 0:48:52 | 0:48:54 | |
his sculptures give me | 0:48:54 | 0:48:55 | |
a tremendous physical feeling of reassurance and of wellbeing. | 0:48:55 | 0:48:59 | |
It not only comes from the protective maternal forms | 0:48:59 | 0:49:02 | |
that he's exploited all his life. One might expect that. | 0:49:02 | 0:49:05 | |
But also from works which give off immense energies and powers. | 0:49:05 | 0:49:10 | |
They are symbols of endurance and tenacity. | 0:49:10 | 0:49:13 | |
In the fields around his home, | 0:49:13 | 0:49:15 | |
he's placed images as monumental as Stonehenge | 0:49:15 | 0:49:18 | |
and infinitely more humane. | 0:49:18 | 0:49:20 |