Reclining Figure. 1949 (TEX 21.1:S2), 1949

Canadian Corporate Collection

Following his studies at the School of Art in Leeds and the Royal College of Art in London, Henry Moore would revolutionise modern sculpture and establish himself as the leading British sculptor of the twentieth century. His initial works were primarily inspired by ancient Egyptian, African, and pre‒Columbian sculptures, which he encountered on his many visits to the British Museum as a student. In the 1920s, Moore began to address one of his most enduring themes: the reclining human figure. The artist carved organic and graceful shapes in stone and bronze, ultimately challenging the boundary between figuration and abstraction, between the female form and the natural landscape. While his large‒scale sculptures are easily identifiable as women in various states of repose, art historians have also interpreted them as evocations of hills, valleys, or rock formations. However, due to the shortage of materials during the early years of the Second World War, Moore was forced to translate his subjects into smaller sculptures and drawings. As exemplified in this work, a reclined figure is presented against a green background. The juxtaposition of lines, both curved, horizontal and vertical along the edge, gives an aura of tension as if the subject was enclosed within the densely packed composition. Moore’s international reputation was secured following the 1946 retrospective exhibition held at the Museum of Modern Art in New York City and the International Sculpture Prize he received in 1948 at the Venice Biennale. Today, Moore’s sculptures and works on paper can be found on Canadian soil at The Henry Moore Sculpture Centre of the Art Gallery of Ontario, which boasts hundreds of works gifted by the artist. He also features prominently in the collections of internationally renowned museums, such as The Metropolitan Museum of Art, the Guggenheim Museum and the Tate.