page_title: Henry Moore
section_title: Hampstead
hierarchical_section_title: Henry Moore / Life / Hampstead
context_page_description: Henry Spencer Moore OM CH FBA was an English artist. He is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.
  His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his Yorkshire birthplace.
  Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy.
context_section_description: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London. On 19 July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907. Her father was killed in the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.
  Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America.
  In 1932, after six-year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.
  Moore and Nash were on the organising committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings.
  In 1938, Moore met Kenneth Clark for the first time. From this time, Clark became an unlikely but influential champion of Moore's work, and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.
caption: West Wind, 1928–29; Moore's first public commission was carved from Portland stone and shows the influence of Michelangelo's figures for the Medici Chapel and the Chac Mool figure.
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