Henry moore henry moore (1898- 1986) studied at Leeds Academy of Fine Arts and the Royal Academy of Fine Arts in London in 1969. Strict academic training enabled him to acquire a solid basic skill in sculpture, but it was Truglia in the British Museum, the sculptures of African-Americans in the pre-Columbian period and Roger, the British art idealist at that time that really influenced his artistic concept. Moore combined primitive art's eager pursuit of human life and the simplicity of expression with modern art's thought of opposing imitation, giving up copying and pursuing the independent value of form itself, and embarked on an artistic road that not only maintained the spirit of western traditional art, but also had modern aesthetic character. What he wants to express is always a gentle affection for life. Moore's inheritance of traditional cultural genes is reflected in his persistence in humanism, and the implementation of sculpture is to always regard portrait as the central theme of his works. Moore said: "I don't think we will break away from the basic foothold of all previous sculptures, that is, people." As far as I'm concerned, what I need is what constitutes a portrait-in this sense, my work is concrete. "Most of Moore's works are engraved with portraits, and only a few works are engraved with animal images such as dogs, snakes and sheep. 1924, Moore imitated the Indian sculpture style in pre-Columbian period and created the first statue of mother and son. Since then, the images of mother and son have repeatedly appeared in Moore's sculptures in various postures, which has become the motif of his life.

Since the Neolithic Age, the combination of mother and child has become the object of human art, which is an eternal and lofty love theme. In Christian tradition, a picture of a mother and son without a specific name can usually be interpreted as the image of the "Virgin Son". In fact, in 1943- 1944, Moore was invited to create a veritable statue of the Virgin Mary for St. Matthew's Church in Northamptonshire, England, which made the maternal love expressed by Moore's series of mother-child statues sacred. 1926, Moore was inspired by a statue named "ChacMool" at the entrance of Tortek Temple in Mayan culture in Mexico, and created the stone statue "Lying Portrait". Since then, this figure has become another representative figure in Moore's whole artistic creation process. In fact, in the history of European art, since ancient Greece, there have been many recumbent sculptures of both men and women, especially in painting. This gesture can be called a classic shape in European art. Based on this image, Moore expressed various meanings, explored sculpture language and studied the properties of various materials. It can almost be said that many works after Moore belong to the variation of this work. In addition to the moral expression of his works, Moore attached great importance to themes, materials and techniques suitable for his own thoughts from the very beginning. Just like the popular mantra in modern painting circles-"It doesn't matter what you draw, but how you draw is the most important thing".

As a modern sculptor, Moore's artistic ideas also keep pace with the general trend of modernism. Like Broncusi and Alkico, pioneers of modern sculpture, Moore also adopted the "direct carving method" in his early creation. In fact, Moore's interest in primitive sculpture is mainly attributed to the charm of the perfect combination of materials and forms. 194 1 year, Moore wrote in an article: "When I found Mexican sculpture, it was both appropriate and correct in my opinion. ? It has a feeling of stone-I mean: it is suitable for materials, it has great power without damaging its sensitivity, and it has a variety of patterns and strong fertility in the creation of shapes, which I think can not be surpassed by sculpture at any time. " In addition to stone carving, there are many kinds of wood carvings in Moore's early works. Although these stone carvings and woodcarvings created by "direct engraving" are small in size, they all have an internal power, which not only expresses various symbolic images, but also gives full play to the inherent characteristics of various materials. Moore is a contemporary of surrealism, and his artistic style is influenced by surrealism because he went to Paris many times in the 1920s and 1930s and had contact with surrealists. Moore participated in the establishment of the "British Surrealism Group" and participated in the "International Surrealism Exhibition" held in London from 65438 to 0936 as a member of the organizing committee. Undoubtedly, surrealism gave Moore beneficial nutrition and played a huge catalytic role in the formation of his personalized style, but it is inappropriate to classify Moore into surrealism camp.

In fact, the irrational, crazy and misplaced modeling of surrealist art and its revelation of the evil structure of subconscious death have always been rejected by Moore. In the final analysis, Moore only adopted surrealist abstract deformation techniques, and what he wanted to express was always a gentle affection for life. He is the most successful and perfect sculptor who uses hole technology. The 1930s was a period when Moore made various explorations and made his art and thoughts mature and gained popularity. 1932, Moore first used the form of drilling in his portrait sculpture. Although it is not Moore's initiative to make holes in portraits, in the history of modern western sculpture, sculptors such as Alkki, Lippucci, Yi Weiyong of Duchamp and Zadejin have used the hole-making technology before and after him, but Moore is the most successful and perfect sculptor who uses this surreal technology. The use of holes breaks the inherent concept that sculpture is an entity surrounded by space. Through the introduction of sculpture henry moore, space runs through it, space becomes a part of the entity, and sculpture and space are integrated. Moore himself claimed that holes in the human body have mysterious power. "The mystery of space is the same as those caves with incredible power on the backs of mountains and cliffs." According to theologians, this portrait with holes has another meaning. Theologians believe that "God is the only guarantee of human integrity", and Moore's incomplete portrait with holes is a portrayal of human life after God's death.

From the perspective of emptiness, Moore's human body sculpture and Picasso's fragmented human body painting are exactly the same in spirit. In any case, this hole has become Moore's trademark, which is an important factor for his sculpture to have a strange charm. The successful practice of environmental sculpture established his supreme position. From 1935, Moore consciously conceived natural scenery and sculpture as a whole, and devoted himself to the exploration of environmental sculpture. It is Moore's greatest creation to let sculpture go from one shelf to another, from artificial space to natural environment. It is precisely because of the successful practice of environmental sculpture that Moore has established his supreme position in modern sculpture. Moore not only considers the harmony between sculpture modeling and environment, including hillsides, fields, forests and buildings, but also takes water, sky, blue sky and white clouds as components of his works. He leans against the human body in nature, which is not only similar in appearance to mountains and ravines, but also has a mountain of momentum and strength. Moreover, Moore also introduced color into his sculptures, that is to say, Moore's sculptures are colored. He considered the existence and direction of sunlight. Those polished bronze sculptures sparkled in the sun. Brief introduction of henry moore, especially in Lin Qiu and Yuan Ye, the forest is completely dyed, resulting in a strong and moving beauty. In order to achieve harmony with the color of the environment, Moore also used chemical corrosives to coat some of his statues in evergreen forests with a layer of green rust.

The quality and color of his white, red and green marble statues are also in harmony with local conditions and surrounding environment. Moore said, "For me, a work must first have its own vividness. I don't mean the reflection of vitality, nor the vitality of sports, physical activities, jumping and dancing. Instead, a work should have internal energy and its own strong vitality, and it is not subordinate to the object it reproduces. " Moore devoted himself to abstract modeling, but always kept his distance from geometric abstraction. What he pursues is an organic biological abstraction. In addition to the human body, Moore likes to find the basis of abstract modeling from organisms such as bones, shells, roots and ellipses. Therefore, no matter how close to abstraction, his works are far more powerful than some more specific works to show the vitality of an animal. Moore sculptures placed under the blue sky and white clouds are like creatures growing from the earth, full of life breath closely related to the whole nature. Throughout Moore's life, he never deviated from his concern for life. Through those symbolic forms full of vitality, Moore wrote endless carols about human beings and nature. Sculpture Name: Recumbent Statue Sculpture Name: Vertical Statue Sculpture Name: Vertical Power Sculpture Name: Mother and Child Sitting Statue Sculpture Name: Spindle Sculpture Name: Recumbent Statue