In these drawings Henry Moore describes the aged body. He made a series of drawings of his own hands when he was eighty-one and suffering from ill-health, and he did more of Dorothy Crowfoot Hodgkin’s gnarled joints. ‘Hands can convey so much’ he said, ‘they can beg or refuse, take or give, be open or clenched, show content or anxiety. They can be young or old, beautiful or deformed’.
Moore believed his prints were part of a larger history of sculpture and painting, in which artists have shown feelings through their portrayal of hands.
The Artist’s Hand IV 1979 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1986 http://www.tate.org.uk/art/work/P02910
The Artist’s Hand II 1979 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1986 http://www.tate.org.uk/art/work/P02908
The Artist’s Hand V 1979 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1986 http://www.tate.org.uk/art/work/P02911
The Artist’s Hand I 1979 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1986 http://www.tate.org.uk/art/work/P02907
The Artist’s Hand III 1979 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1986 http://www.tate.org.uk/art/work/P02909
Hands I 1973 Henry Moore OM, CH 1898-1986 Presented by the artist 1975 http://www.tate.org.uk/art/work/P02190
Hands II 1973 Henry Moore OM, CH 1898-1986 Presented by the artist 1975 http://www.tate.org.uk/art/work/P02191
Hands of Dorothy Crowfoot Hodgkin II 1978 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1982 http://www.tate.org.uk/art/work/P02643
Hands of Dorothy Crowfoot Hodgkin V 1978 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1982 http://www.tate.org.uk/art/work/P02646
Hands of Dorothy Crowfoot Hodgkin III 1978 Henry Moore OM, CH 1898-1986 Presented by the Henry Moore Foundation 1982 http://www.tate.org.uk/art/work/P02644
Model and Chair by Ruthie V. 10×8″ drypoint on grey BFK What a great day! Nikki and I hung out in the studio and made drypoint prints. The image above was my favorite of the day. It was scratched into plexiglass using 220 grit sandpaper and a diamond tipped scribe, then printed on grey BFK. I …
[image_with_animation image_url=”11536″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Sacred Shapes – Accordion Book Yesterday I posted Ralph Kiggell’s Temple Dogs series of woodblock prints, and quoted excerpts from his blog that described his process. Today I’m sharing his Sacred Shapes series of 12 woodblocks. They also have a simple concept, repeated in iterations, in which the subject is …
Have you ever gone shopping for easels and found the options of fall-apart folding easels vs. expensive hardwood calliopes, and thought “what the heck do artists buy?” The answer might surprise you. Many painters don’t use easels at all. For my biggest paintings, two 4x4x16” pieces of wood service nicely. They lift a painting off …
Quotes: I didn’t even want the brush to come between me and the image. [Regarding the white paintings…] If you have size, you have proportion. If you have size and proportion, and if white is a color, than you have a painting. An artist has to start without any conceivable purpose other than curiosity and …
Henry Moore: Drawings of Hands
In these drawings Henry Moore describes the aged body. He made a series of drawings of his own hands when he was eighty-one and suffering from ill-health, and he did more of Dorothy Crowfoot Hodgkin’s gnarled joints. ‘Hands can convey so much’ he said, ‘they can beg or refuse, take or give, be open or clenched, show content or anxiety. They can be young or old, beautiful or deformed’.
Moore believed his prints were part of a larger history of sculpture and painting, in which artists have shown feelings through their portrayal of hands.
http://www.tate.org.uk/art/artworks/moore-the-artists-hand-v-p02911
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