Skip to Main Content
  Navigation Menu
      Admission is always free

          Open today:10:00  to 5:00
          Directions
           Play Artle
        Visit
      Visit
          
            Getting Here
          
            Accessibility
          
            Tours, Guides & Maps
          
            Food & Drink
          
            Gallery Shops
          
            Visitor Policies
  
  Collection
      Collection
          
            Highlights
          
            Search the Collection
          
            Artists Search
          
            Acquisition Highlights
          
            Stories
  
  Exhibitions
      Exhibitions
          
            Current
          
            Special Installations
          
            Upcoming
          
            On Tour
          
            Past
  
  Calendar
      Calendar
          
            Films
          
            Performances
          
            Talks
          
            Guided Tours
          
            After Hours
          
            Fun for Kids
          
            Festivals
          
            Workshops
  
  Learn
      Learn
          
            Teachers
          
            Families
          
            Teens
          
            Adults
          
            Learning Resources
          
            Music Programs
          
            Film Programs
  
  Conservation
      Conservation
          
            Projects
          
            Publications
          
            Resources
  
  Research
      Research
          
            The Center
          
            Publications
          
            Make an Appointment
          
            Archives
          
            Library
          
            NGA Online Editions
  
  Support
      Support
          
            Donate Now
          
            National Membership
          
            Circle Membership
          
            Leadership Groups
          
            Planned Giving
          
            Major Giving
          
            Gifts of Art
  
  Shop
      Shop
          
            Books
          
            Jewelry
          
            Apparel & Accessories
          
            Kids
          
            NGA Custom Prints
  
  Play Artle
            Previous Menu
              


  Search
  Hide Menu
  
  Home>In Situ: Henry Moore, David Finn, and the Experience of Location
      

      
      Search In Situ:
 Henry Moore, David Finn, and the Experience of Location
 David Finn (left) and Henry Moore choosing the photographs for the book Henry Moore: Sculpture and Environment, mid-1970s
 In 2016, David Finn, the world-renowned photographer and founding father of public relations, donated his photo archive to the department of image collections at the National Gallery of Art. This archive includes more than 110,000 negatives, transparencies, and images on contact sheets and more than 35,000 corresponding large photographic prints. It reflects and expands upon Finn’s photographic books and articles on sculpture and includes photographs of sculpture from all over the world made between the 12th and 20th centuries. In many cases, Finn focused his work on living sculptors—none more so than his close friend Henry Moore, whose monumental work is particularly well represented in this archive. Moore believed that location played a crucial role in the understanding of his sculpture—that the setting surrounding a sculpture was as important to the viewer’s experience as the sculpture itself. He placed great emphasis on the importance of contrast and noted that vast, natural settings were ideal in highlighting this effect.
 Black-and-white photograph of a Henry Moore sculpture, "Upright Motive No. 1: Glenkiln Cross," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Upright Motive No. 1: Glenkiln Cross (LH 377), 1955–1956, bronze, in the Forte di Belvedere, Florence
Black-and-white photograph of a Henry Moore sculpture, "Upright Motive No. 1: Glenkiln Cross," in the Glenkiln Sculpture Park, Scotland
      
        
        Henry Moore, Upright Motive No. 1: Glenkiln Cross(LH 377), 1955–1956, bronze, in the Glenkiln Sculpture Park, Scotland
 Black-and-white photograph of a Henry Moore sculpture, "The Arch," in the Forte di Belvedere, Florence
      
        
        Henry Moore, The Arch (LH 503b), 1971, fiberglass cast, in the Forte di Belvedere, Florence
 This emphasis on location inspired Finn to travel the world documenting Moore’s sculptures in their many different settings. He described and published those photos, many of which are included in this feature, in his book Henry Moore: Sculpture and Environment. Their close friendship gave Finn a unique ability to capture Moore’s intention for his work. Moore not only discussed his work at length with Finn, but he also trusted Finn implicitly as a photographer of sculpture. Moore elaborated on the considerations that led him to emphatically recommend Finn as the sole photographer for an important artist monograph on the German Renaissance sculptor Heinrich Brabender: I suggested that Brabender’s work not be shown through standard academic photographs, representing, as they usually do, straight front or side views. A sculptor would like to see his work photographed in a different way, at least that’s the way I feel about my work. To do the right kind of book on Brabender’s sculpture, new photographs ought to be taken with the eye of a sculptor. I suggested that David Finn, whose photographs of sculpture I like, might be interested in photographing all of Brabender’s work in a way that would show what a fine sculptor he was. [1] [1]Henry Moore, Henry Moore: Writings and Conversations, ed. Alan Wilkinson (Berkeley, 2002), 143.
 Black-and-white photograph of a Henry Moore sculpture, "Large Two Forms," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Large Two Forms (LH 556), 1971, fiberglass cast, in the Forte di Belvedere, Florence
Black-and-white photograph of a Henry Moore sculpture, "Large Two Forms," in the Jardin des Tuileries, Paris
      
        
        Henry Moore, Large Two Forms (LH 556), 1971, fiberglass cast, in the Jardin des Tuileries, Paris
 By photographing casts of the same work in various locations, Finn managed to capture the vastly different visual experiences created for each cast by the surrounding context. Finn’s work is especially important when one considers that some of Moore’s favorite settings for sculpture were temporary and no longer display his art. The David Finn Archive preserves the photographic remains of Moore’s original vision for the interplay between sculpture and setting in the Glenkiln Sculpture Park, the Forte di Belvedere in Florence, and the Jardin des Tuileries in Paris during the 1977 Paris Exhibition. Though most of Moore’s work no longer exists in these locations, Finn’s photography documents the experiences the sculpture created in each setting.
 Glenkiln Sculpture Park
 Black-and-white photograph of a Henry Moore sculpture, "King and Queen," in the Glenkiln Sculpture Park, Scotland
      
        
        Henry Moore, King and Queen (LH 350), 1952–1953, bronze, in the Glenkiln Sculpture Park, Scotland
 The Glenkiln Sculpture Park was one of Moore’s favorite locations. Finn noted, “I knew these were Moore’s favorite sites for his sculptures because he kept photographs of them mounted on the walls of one of his studios.”[2] [2]David Finn, One Man’s Henry Moore(Redding Ridge, CT, 1993), 31. Moore worked closely with his friend Sir William Keswick, the owner of Glenkiln, to plan and prepare the perfect location for each of the sculptures Sir William commissioned. The sparse, hilly landscape provided many opportunities for Moore’s work to be elevated and placed in clear contrast with the vast horizon and open stretches of windswept land.
 Black-and-white photograph of a Henry Moore sculpture, "Two-Piece Reclining Figure No. 1," in the Glenkiln Sculpture Park, Scotland
      
        
        Henry Moore, Two-Piece Reclining Figure No. 1 (LH 457), 1959, bronze, in the Glenkiln Sculpture Park, Scotland
 The Glenkiln Sculpture Park in the Dumfries and Galloway Council Region of southwest Scotland was once the home to several works by Moore: Standing Figure, King and Queen, Upright Motive No. 1: Glenkiln Cross, and Two-Piece Reclining Figure No. 1. After the theft of Moore’s still-unlocated Standing Figure on October 13, 2013, King and Queen was removed to storage for security purposes. Moore’s Upright Motive No. 1: Glenkiln Crossand Two-Piece Reclining Figure No. 1 still stand in Glenkiln Sculpture Park, but Standing Figure and King and Queen will likely never be on view in this location again.
 Forte di Belvedere
 Black-and-white photograph of a Henry Moore sculpture, "Reclining Figure," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Reclining Figure (LH 608), 1969–1970, bronze, in the Forte di Belvedere, Florence
 In 1972, the Forte di Belvedere in Florence became the temporary setting for an extraordinary solo exhibition of Moore’s work. His enthusiasm for this site is evident in a letter written to the mayor of Florence regarding the exhibition: “And so my close relationship with Florence grows, and I feel it is my artistic home. Therefore, this opportunity to hold an exhibition at the Forte di Belvedere, I accept with gratitude, but also with some apprehension! . . . No better site for showing sculpture in the open air, in relationship to architecture, and to a town could be found anywhere in the world than the Forte di Belvedere, with its impressive environs and its wonderful panoramic views of the city.”[3] [3]David Finn, Henry Moore: Sculpture and Environment(New York, 1976), 476. The Belvedere was commissioned by Ferdinando I de’ Medici and built by Bernardo Buontalenti between 1590 and 1595. Situated in the hills south of the Arno River, the Belvedere held a key defensive position and was crucial to the protection of Florence and the Medici family. Its elevated location atop the highest hill in the Boboli Gardens gives the Belvedere an expansive view of the Florentine skyline, with the Florence Cathedral featured prominently. The distance between the fort and the individual buildings of the skyline allowed for an interesting background that did not compete with Moore’s sculpture but promoted contrast. In Finn’s photographs, rather than appearing visually busy or confusing, Moore’s work unfolds as an integrated whole against the horizon.
 Black-and-white photograph of a Henry Moore sculpture, "Standing Figure," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Standing Figure (LH 290b), 1971–1972, white marble, in the Forte di Belvedere, Florence
Black-and-white photograph of a Henry Moore sculpture, "Standing Figure," in the Glenkiln Sculpture Park, Scotland
      
        
        Henry Moore, Standing Figure (LH 290), 1950, bronze, in the Glenkiln Sculpture Park, Scotland
 Jardin des Tuileries
 Black-and-white photograph of a Henry Moore working model for "Standing Figure: Knife Edge" in the Forte di Belvedere, Florence
      
        
        Henry Moore, Working Model for Standing Figure: Knife Edge (LH 481), 1961, bronze, in the Forte di Belvedere, Florence
Black-and-white photograph of a Henry Moore sculpture, “Standing Figure: Knife Edge,” in the Jardin des Tuileries, Paris
      
        
        Henry Moore, Standing Figure: Knife Edge (LH 482), 1961, bronze, in the Jardin des Tuileries, Paris
 The final temporary setting presented here is the Jardin des Tuileries in Paris, commissioned in 1564 by Catherine de’ Medici, queen of France, as an Italian Renaissance garden. Moore’s sculpture was shown there in the 1977 Paris Exhibition. This location serves as a foil to that of the Glenkiln Sculpture Park and the Forte di Belvedere, as Moore found it to be a less effective setting for his work.
 In the 1977 Paris Exhibition catalog, Kenneth Clark gave a lackluster assessment of the Tuileries as a setting for Moore’s work: “The Scottish moorlands are where Moore’s bronzes find their meaning: without a doubt, they lose a bit of their strength in the elegant organization of the Tuileries. Even if the sculptures do not fit completely in the Parisian setting, the majesty of their form and their vitality will be enough to shape their surroundings.”[4] [4]“C’est dans une lande d’Écosse que les bronzes de Moore prennent tout leur sens: ils perdront sans doute un peu de leur force dans l’élégante ordonnance des Tuileries. Pourtant si ces sculptures ne se fondent pas absolument dans leur environnement parisien, la majesté de leur forme et leur vitalité suffiront à façonner leur propre monde.” Henry Moore: Sculptures et dessins: exposition, 6 mai–29 août 1977, Orangerie des Tuileries(Paris, 1977), 15. This critique is in line with Moore’s apprehension toward urban environments. The tightly organized elegance of the Tuileries did not allow Moore’s sculpture the same impact as did vast, open, natural landscapes. The organized pathways on which Moore’s works were placed provided framing for the works but did little in the way of providing contrast. Rather than being effectively highlighted by the background, the sculptures were forced to compete with it.
 Black-and-white photograph of a Henry Moore sculpture, "Oval with Points," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Oval with Points (LH 596), 1968–1970, bronze, in the Forte di Belvedere, Florence
Black-and-white photograph of a Henry Moore sculpture, "Oval with Points," in the Jardin des Tuileries, Paris
      
        
        Henry Moore, Oval with Points (LH 596), 1968–1970, bronze, in the Jardin des Tuileries, Paris
 As Moore’s works are stolen, moved, bought, and sold, the David Finn Archive at the National Gallery of Art provides a point of stability where we can continue to behold them in the settings of Moore’s lifetime, sensitively captured in situ by a photographer “with the eye of a sculptor.”
 Black-and-white photograph of a Henry Moore sculpture, "Large Square Form with Cut," in the Forte di Belvedere, Florence
      
        
        Henry Moore, Large Square Form with Cut (LH 599), 1969–1970, Italian white marble, in the Forte di Belvedere, Florence
 Further Reading
 Armstrong Leone, Sally, and Carol Capobianco, eds. Moore in America: Monumental Sculpture at the New York Botanical Garden. Bronx, NY, 2008. Brown, J. Carter. Museum without Walls: Henry Moore: In New York City. n.p., 1984. Finn, David. Henry Moore: Sculpture and Environment. New York, 1976. Finn, David. One Man’s Henry Moore. Redding Ridge, CT, 1993. Finn, David. The Way Forward: My First Fifty Years at Ruder Finn. New York, 1993. Hall, Donald, and David Finn. As the Eye Moves . . . : A Sculpture by Henry Moore. New York, 1973. Moore, Henry. Henry Moore at the British Museum. New York, 1981. Pieper, Paul. Heinrich Brabender: Ein Bildhauer der Spätgotik in Münster. Münster, 1984. Spender, Stephen, and David Finn. In Irina’s Garden, with Henry Moore’s Sculpture. London, 1986.
 All images are gelatin silver photographs by David Finn, © David Finn Archive, Department of Image Collections, National Gallery of Art Library and © Henry Moore Foundation. LH numbers in captions refer to the comprehensive catalogue raisonné of Henry Moore’s sculpture published by Lund Humphries from 1988 to 1999.


**Footnotes** Henry Moore, Henry Moore: Writings and Conversations, ed. Alan Wilkinson (Berkeley, 2002), 143.
David Finn, One Man’s Henry Moore(Redding Ridge, CT, 1993), 31.
David Finn, Henry Moore: Sculpture and Environment(New York, 1976), 476.
“C’est dans une lande d’Écosse que les bronzes de Moore prennent tout leur sens: ils perdront sans doute un peu de leur force dans l’élégante ordonnance des Tuileries. Pourtant si ces sculptures ne se fondent pas absolument dans leur environnement parisien, la majesté de leur forme et leur vitalité suffiront à façonner leur propre monde.” Henry Moore: Sculptures et dessins: exposition, 6 mai–29 août 1977, Orangerie des Tuileries(Paris, 1977), 15.





Stay connected Learn more about our exhibitions, news, programs, and special offers.
 Email Address for National Gallery newsletter subscription


About About the National Gallery
    
        Stories
    
        Press
    
        FAQs
    
        Contact Us
 Plan a Visit Getting Here
    
        Accessibility
    
        Today's Tours
    
        Food & Drink
    
        Calendar
    
        Downloadable Map
 Get Involved Donate
    
        Membership
    
        Volunteer
    
        Opportunities
    
        Shop Online
 Resources Search the Collection
    
        Conservation
    
        Library
    
        Archives
    
        The Center
    
        Film Programs
    
        Music Programs
    
        Audio/Video
    
        Open Access Images


Hours: 10:00 a.m. to 5:00 p.m. daily West Building6th St and Constitution Ave NWEnter or exit from Constitution Avenue, 4th Street, or 7th Street. The Madison Drive entrance is currently closed. East Building4th St and Constitution Ave NWEnter and exit from 4th Street. Sculpture Garden7th St and Constitution Ave NWEnter and exit from 7th Street, Constitution Avenue, or Madison Drive. We are closed on December 25 and January 1.
 The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity.


Twitter
          Facebook
          Instagram
		      Pinterest
          YouTube
 © 2024 National Gallery of Art   Notices   Terms of Use   Privacy Policy