Question: When did Henry Moore become a student at the Leeds School of Art?
About the article "Henry Moore", section "Beginnings as a sculptor".

Candidate passages:
After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him.
At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years.
In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development.
In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries.
While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals.
Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture.
Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach.
During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's "The Virgin and Child" by first modelling the relief in plaster, then reproducing it in marble using the mechanical technique of "pointing".
Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.
In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters.
During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, previously seen in book illustrations.
The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Leeds has produced many of the UKs most famous artists and sculptors, partly owing to the location of Leeds College of Art in the city.
Damien Hirst, Barbara Hepworth, Kenneth Armitage and Henry Moore all launched their careers in Leeds.
A major sculpture gallery, the Henry Moore Institute is located alongside Leeds Art Gallery in the City Centre.
Project Space Leeds are developing a modern art gallery in the former Tetley Brewery buildings to open in Autumn 2013. 
Leeds has one art gallery, Leeds Art Gallery situated on The Headrow in the city centre.
The gallery opened in 1888 and houses a collection of works of various ages.
The gallery is owned and operated by Leeds City Council and is free to members of the public.
Attached to it is the Henry Moore Institute.
Art is taught in Leeds at Leeds College of Art which has alumi including Henry Moore and Damien Hirst.
Leeds city centre has a variety of statues and sculptures on public display. 
Leeds is known to have its own Speakers' Corner, at Victoria Gardens on The Headrow, in front of the Leeds City Art Gallery, Central Library and Henry Moore Sculpture Centre building.
It is a pivotal point in Leeds for justice and anti-war marches, most of which gather and terminate here, as well as for war memorial services due to the location of Leeds's Municipal Cenotaph. 
The Leeds Art Collections Fund or LACF has been supporting the visual arts in Leeds since 1912.
Founded by Frank Rutter, who was the newly appointed curator of Leeds Art Gallery (then Leeds City Art Gallery) at the time, with the support of the Vice-Chancellor of the University of Leeds, Michael Sadler, the LACF was established to encourage the visual arts in Leeds and, most importantly, to provide a source of funding that was independent of the municipality for the purchase of contemporary and historic works of art and design for the people of Leeds.
Today, most of the LACF's work is channelled through the Leeds City Art Galleries, and it operates as one of Britain's oldest supporting art gallery 'friends' organisations.
Through subscriptions and fund-raising events the LACF has helped to enrich the visual life of Leeds by making purchases of art works for display in Leeds at the Leeds City Art Gallery, Temple Newsam House and Lotherton Hall.
The works bought by the LACF for display in Leeds are too numerous to mention in full, but they include works by such well-known names as Thomas Chippendale, J.M.W.
Turner, John Sell Cotman, John Atkinson Grimshaw, Stass Paraskos, Francis Bacon, Paula Rego, Bridget Riley, Henry Moore and Auguste Rodin.
The LACF has also supported various educational and publishing activities associated with the visual arts in Leeds, and continues to do so, not only at the Leeds City Art Galleries, but other visual art centres in Leeds, including the University of Leeds Art Gallery and East Street Arts (Vitrine project).
The LACF is an independent charity, but it maintains close links with Leeds City Council, and with other organisations with an interest in the artistic life of Leeds, including the University of Leeds, East Street Arts, the Leeds Philosophical and Literary Society and local businesses.
Its chairperson is Benedict Read.