Two Piece Reclining Figure No 1 Sculpture

Overview

Heritage Category:
Listed Building
Grade:
II
List Entry Number:
1451036
Date first listed:
25-Jan-2019
Statutory Address:
Atterbury Street Courtyard, Chelsea College Of Art and Design, London, SW1P 4RQ

Map

© Crown Copyright and database right 2021. All rights reserved. Ordnance Survey Licence number 100024900.
© British Crown and SeaZone Solutions Limited 2021. All rights reserved. Licence number 102006.006.
Use of this data is subject to Terms and Conditions.

The above map is for quick reference purposes only and may not be to scale. For a copy of the full scale map, please see the attached PDF - 1451036.pdf

The PDF will be generated from our live systems and may take a few minutes to download depending on how busy our servers are. We apologise for this delay.

This copy shows the entry on 18-Apr-2021 at 21:18:26.

Location

Statutory Address:
Atterbury Street Courtyard, Chelsea College Of Art and Design, London, SW1P 4RQ

The building or site itself may lie within the boundary of more than one authority.

County:
Greater London Authority
District:
City of Westminster (London Borough)
Parish:
Non Civil Parish
National Grid Reference:
TQ3010678469

Summary

Two Piece Reclining Figure No 1 sculpture, 1959, by Henry Moore.

Reasons for Designation

Two Piece Reclining Figure No 1, 1959, by Henry Moore, is listed at Grade II, for the following principal reasons:

Architectural interest:

* the first in a series of four abstracted two-piece female figures exploring the coalescence of anatomy and landscape, which is of high artistic and aesthetic quality.

Historic interest:

* by one of the most highly-regarded and influential sculptors of the C20, and representative of the increasingly abstract form his work assumed in his later career; * for its association with the Chelsea School of Art, a significant institution in artistic education, where Moore was Head of Sculpture in the 1930s.

Group value:

* for its contribution to a landscape with an important and evolving artistic legacy, architecturally and historically rich with numerous listed structures.

History

The period after 1945 saw a shift from commemorative sculpture and architectural enrichment to the idea of public sculpture as a primarily aesthetic contribution to the public realm. Sculpture was commissioned for new housing, schools, universities and civic set pieces, with the counties of Hertfordshire, London and Leicestershire leading the way in public patronage. Thus public sculpture could be an emblem of civic renewal and social progress. By the late C20 however, patronage was more diverse and included corporate commissions and Arts Council-funded community art. The ideology of enhancing the public realm through art continued, but with divergent means and motivation.

Visual languages ranged from the abstraction of Victor Pasmore and Phillip King to the figurative approach of Elisabeth Frink and Peter Laszlo Peri, via those such as Lynn Chadwick and Barbara Hepworth who bridged the abstract/representational divide. The post-war decades are characterised by the exploitation of new – often industrial – materials and techniques including new welding and casting techniques, plastics and concrete, while kinetic sculpture and ‘ready mades’ (using found objects) demonstrate an interest in composite forms.

Henry Moore (1898–1986) is widely recognised as one of the most important English sculptors of the C20. He was born in Yorkshire and attended Castleford Grammar School, where he reluctantly taught from 1916, before serving in the army between 1917 and 1919. His artistic education began at Leeds School of Art, before he achieved his ambition of a place at the Royal College of Art (RCA), London, in 1921. He went via Paris to Italy on a travelling scholarship in the mid-1920s, and between 1925 and 1932 taught at the RCA, and then was head of Sculpture at the Chelsea School of Art from 1932 to 1939. His first solo show was in 1928, and his first public commission the same year: a relief for Holden’s Underground Building, St James’s. He was prolific in the 1930s, exhibiting at home and abroad, and during the Second World War won great acclaim for his drawings of people sheltering in the London underground. His first major foreign retrospective was held at the Museum of Modern Art, New York, in 1946. Following bomb damage in the war, Moore and his wife moved from Hampstead to Perry Green in Hertfordshire, where he remained for the rest of his life. Philanthropic in his outlook, Moore established a charitable foundation in 1977 to encourage public appreciation of the visual arts; he bequeathed his estate at Perry Green to the foundation prior to his death, and donated hundreds of works to galleries and institutions internationally.

There are a large number of Moore works of art on public display nationally, thanks to the benefaction of the foundation. There are six free-standing Moore sculptures listed, including one at Grade II*: the memorial to Christopher Martin at Dartington College. A number of other his works are listed as part of the buildings that they occupy or adorn.

Two Piece Reclining Figure No 1 was acquired by the Chelsea School of Art – now the Chelsea College of Art and Design – in 1959, and was installed by Moore at the former home of the college at Manresa Road. The college’s Special Collections archive contains photographs of the installation, documentation leading to the purchase of the sculpture, and unrealised plans for a motorised revolving plinth. The circular plinth upon which the piece stands was intended to encourage the viewer to move around the two forms, presenting an interplay of solid and void as perspective changes. The separation into two parts further obscures the female figure, and explores Moore’s interest in the coalescence of anatomical and geological masses; the forms have a craggy, monolithic quality, emphasised by the rough surface treatment.

The sculpture has been moved several times: from Manresa Road it went, in 1968, to the Tate, then to the Royal Academy in 1988, and to the Jeu de Paume, Paris in 1996. During the College’s relocation to Millbank, the sculpture resided at the Yorkshire Sculpture Park, before returning to London in 2010. The return of the sculpture coincided with a retrospective on Moore by the Tate gallery, adjacent to the college. The college mounted their own exhibition, celebrating the return of the piece and its peripatetic history; it included a filmed recital by Dudley Sutton entitled ‘Don’t do any more Henry Moore (You are becoming a monumental bore)’, perhaps a riposte to the Tate, but rather a whimsical lament told from the perspective of the removal men tasked with hauling the weighty sculpture between its various homes.

Details

Two Piece Reclining Figure No 1 sculpture, 1959, by Henry Moore.

MATERIALS: the sculpture is cast in bronze and sits upon a circular concrete pedestal.

DESCRIPTION: an abstracted female figure in two parts; the forms have a rough, textural finish. The sculpture is approximately 1m high and 1.2m wide, and stands upon a 1m-high pedestal. There is a plaque facing north-east inscribed ‘TWO PIECE RECLINING FIGURE NO1 1959 / HENRY MOORE 1898-1986’.

Sources

Books and journals
McNay, Michael, Hidden Treasures of London, (2015), 185
Websites
'Henry Moore: Sculptural Process and Public Identity', Tate, accessed 17/09/2018 from https://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-om-ch-two-piece-reclining-figure-no2-r1171982
Oxford Dictionary of National Biography, Moore, Henry Spencer, accessed 05/09/2017 from http://www.oxforddnb.com/view/article/39962?docPos=7
The Henry Moor Foundation, Biography , accessed 05/09/2017 from https://www.henry-moore.org/pg/research/henry-moore--biography 06/10/2015
University of the Arts London, ‘Don’t Do Any More Henry Moore’, 11 May 2010, accessed 25/09/2017 from http://newsevents.arts.ac.uk/9533/%E2%80%98don%E2%80%99t-do-any-more-henry-moore%E2%80%99/

Legal

This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest.

End of official listing

Your Contributions

Do you know more about this entry?

The following information has been contributed by users volunteering for our Enriching The List project. For small corrections to the List Entry please see our Minor Amendments procedure.

The information and images below are the opinion of the contributor, are not part of the official entry and do not represent the official position of Historic England. We have not checked that the contributions below are factually accurate. Please see our terms and conditions. If you wish to report an issue with a contribution or have a question please email [email protected].