Reclining figure distorted – Sectional line
1979
- Medium
- chalk, charcoal, wax crayon, ballpoint pen, pen and sepia ink, and watercolour over pencil
- Measurements
- 22.7 × 28.5 cm (image and sheet)
- Place/s of Execution
- England
- Inscription
- inscribed in pencil (in image) l.r.: Moore / 79.
- Accession Number
- 2014.383
- Department
- International Prints and Drawings
- Credit Line
- National Gallery of Victoria, Melbourne
Gift of Ginny Green, Sandra Bardas OAM family, Vicki Vidor OAM and Bindy Koadlow in memory of their parents Loti Smorgon AO and Victor Smorgon AC through the Australian Government’s Cultural Gifts Program, 2014
© Henry Moore/DACS, London. Licensed by Copyright Agency, Australia Sydney
This digital record has been made available on NGV Collection Online through the generous support of the Joe White Bequest - Gallery location
- Late 19th & early 20th Century Paintings & Decorative Arts Gallery
Level 2, NGV International - About this work
-
From his student days at the Royal College of Art, Henry Moore was a keen draughtsman, attending drawing classes that his fellow sculpture students just as keenly avoided. Drawing was an essential intermediary stage in the creation of Moore’s sculptures until his later years, when it became an art form independent of his three-dimensional work. A calm grandeur, evident in his sculptures, is similarly present in Moore’s drawings and emerges from the rounded volumes created by his careful modelling and the stately figures, which are rarely in action but rather standing, sitting or reclining. Reclining figure distorted – sectional line is a study for the bronze Reclining figure no. 7, 1979–80.
- Subjects (general)
- Abstract Art Human Figures
- Subjects (specific)
- back views contour drawings (drawings) distortion lines (artistic concept) profiles (figures) repose (activity) women (female humans)
- Movements
- Contemporary (style of art)
