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Posts tagged ‘Sculpture’

Compendium // Rome > Moses, the other great Michelangelo

Michelangelo’s David is one of the most cited, famous and admired sculptures in the history of art. Its image graces tea towels and teapots, erotic aprons and nodding-head dolls. And it’s no wonder. When I revisited the great marble man over Christmas, my emotions raised the nearer I got to the splendid stone musculature. We have been left with few Michelangelo sculptures in a truly finished state. Much of the works of his sculptural oeuvre have only just started emerging from their cacophony of natural stone. But in Rome there is another Michelangelo in the ecstatic state of splendid finesse, which is every bit the equal of David for its brilliance of anatomy, and for the emotions captured in marble. I am not talking of the Vatican’s La Pieta, but Moses, a mere stone’s throw from the Colosseum.


Without a recommendation, you could easily miss San Pietro in Vincoli (St Peter in Chains), the church in central Rome where Moses is held (and which also hosts the chains purported to have held said St Peter in captivity). There, in one corner, the sole direction of the tourist gaze will soon demarcate where Michelangelo’s masterpiece is waiting. Had Moses sat within the mammoth marble tomb structure of Pope Julius II for which he was originally intended, there would have been no missing him. Commissioned by the Pope in 1505, the tomb was designed to hold 40 like-sized sculptures and fill a central apse of the new St Peter’s Basilica. As it was, Michelangelo soon became embroiled in the Pope’s other great commission: the ceiling of the Sistine Chapel, and when his tomb was eventually installed at its current location, Moses took centre stage, his being the only one of the major sculptures for the tomb completed.

Perhaps it was a twist of fate which made things that way. For it would be a crying shame indeed if this truly exquisite statue had been lost in a crowd of 39 others, relegated to a tier some 4 metres of the ground in its intended positioning. Today, by contrast, the relative accessibility of San Pietro in Vincoli means you can get to almost touching distance of the great man, and the effect is ravishing.


How can I describe an encounter with Moses? Emotional for sure, awestruck most certainly. The way in which Michelangelo so adeptly sculpts the flowing beard of Moses, twisted around his fingers in what appears to be both a moment of contemplation and rage at the idolatry of the Israelites who he finds to be worshiping a golden cow upon his descent from Mount Sinai. There is a beautiful, throbbing intensity about his musculature and his domineering presence. This Moses is both godlike to behold, and intimidating to witness.

Above all things he is a true icon of art history, and what is Michelangelo’s perhaps more overlooked masterpiece, available for all to see (for free) in the very centre of Rome.

© Nicholas de Lacy-Brown and The Daily Norm, 2018. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Magnificent Milano (Part 6): Stazione Centrale

It’s not often when you leave a city that you start snapping away with your camera, but with the stupendous scale and majesty of its liberty-style architecture, the Stazione Centrale of Milan makes for one hell of a farewell. Inaugurated in 1931, and heavily influenced by the onset of Italy’s Fascist age of might and power, the building pronounces Milan and Italy a true powerhouse of the modern age and a gateway to the advanced engineering which meant that Milan was connected through vast railway tunnels running North through the Alps, and along endless expanses of track traversing the Italian peninsula.


It’s hard to know where to look. While passengers may be accustomed to concentrating on the departures board, Milan’s central station is itself a masterpiece of art which beckons the viewer to look beyond the travel information and up into the soaring 72 metre height of its great loft ceilings, and over the art deco lines and cubist sculptures which represent, in very Fascist terms, the will of the worker and the strength of Milan as Italy’s industrial capital.


The station is mightily impressive. You have to traverse three huge entrance porticos before you even reach the 24 platforms, each bigger than the one before and displaying new feats of architectural engineering and decorative brilliance. What can be termed as “halls” are each double the size of your average city train station, and pack their punch in aesthetic excellence and awe-inspiring impact.

It made leaving Milan that sunny blue-sky day all the more difficult, but think how it must impress as a gateway to the city? Whether it be political propaganda or a testament to design, the Stazione Centrale is a true icon of its age, and seeing it was a magnificent end to our Milanese Odyssey. Arrivederci Milano… we will return to revel in your splendour one day soon.


© Nicholas de Lacy-Brown and The Daily Norm, 2011-2018. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Magnificent Milano (Part 4): The Duomo, Rooftop forest

In fashioning the most extravagantly elegantly shaped dresses and forging trends to go bankrupt for, the designers of Milan are merely following in the footsteps of their city forefathers who constructed a Cathedral to wow, inside and out. And while their objective was most certainly achieved in all the most conspicuous of places, they didn’t fall short of embellishing even those sections seen more regularly by the birds than by the faithful down below. For the Duomo’s rooftop is every bit as beautiful as its marble facade and its stunning grandiose interior. In fact to my mind, it’s the icing on the cake, and the cherry on top all rolled into one magnificent exhibition of man’s greatest craftsmanship.


The roof of the Duomo of Milan is a veritable forest of marble Gothic spires (some 135 in all) topped by perfectly sculpted images of the saints, flowers and gargoyles. These upward thrusts of stone are coupled with gently arching buttresses which support the nave and make the initial approach along one side of the building and up to the central section a real treat of overlapping stone. Once on the very top, you need to have both a head for heights and a steady footing, as you literally walk on the sloping sides of the vaulted ceiling. But if you suffer from vertigo, think of Mary, whose golden statue still looks minuscule, even from the roof, as it soars upwards hundreds of metres into the sky.


But perhaps the greatest aspect of the roof is the view. Behind the spires and the ancient statues is a city skyline progressing fast with the times. Out of the shadow of modernista palazzos, a vibrant new landscape of skyscrapers and apartment blocks is growing, from Ponti and Pier Lugui Nervi’s iconic Pirelli Tower, to the more recent, twisting form of Zaha Hadid’s Generali Tower or the strangely verdant Bosco Verticale by Stefano Boeri. It’s ancient meets modern, which more or less sums up the character of Milan: A city forging way ahead of many of its ancient Italian cousins, but retaining at its heart one of the most impressive historical buildings of them all: the Duomo.


© Nicholas de Lacy-Brown and The Daily Norm, 2011-2018. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Florence, Land of the Medici (Part 2): Michelangelo’s David

It is one of the most famous icons in all the history of Art, and one of the world’s undisputed masterpieces of sculpture. Michelangelo’s David must have been reproduced more than any other statue across the globe: You’d be hard pushed to find a garden centre which didn’t contain a moss-covered replica, or an Italian souvernir shop which didn’t have a panoply of aprons focusing on David’s genitals, keyrings of the same, and your own personal desktop David in every size and colour variation. Yet despite it’s high visibility, nothing can prepare you for seeing the real thing. Nothing.


I remember the moment of my first acquaintance with David when I studied art history in 2001. It was the day I was least looking forward to, since I thought David was too well-known and obvious to excite. But when I saw the original, the huge vast scale of it, the sheer perfection of his exquisitely sculpted flesh in marble, it made me cry. I stood before that masterpiece completely enraptured. And I have looked forward to making a second acquaintance ever since. Some 16 years passed before I could see David up close again, but as these photos show, he inspired me every bit as much on this second visit, and I took a long and happy pause to revel in every details of Michelangelo’s impossibly perfected magnum opus.


Created between 1501 and 1504, David is the work not of an experienced sculptor at the height of his game, but of a junior Michelangelo in the early years of his career. Much nurtured by his patron, Lorenzo (the Magnificent) di Medici, Michelangelo enjoyed a swift rise to fame, but his talent was the true driver, something which was never so brilliantly exhibited as in the creation of this perfect nude. The work is yet more incredible when you consider that Michelangelo first had to sculpt around the previous abandoned attempts made by two other sculptors on the same block of marble. He also had to make the best of this mammoth hunk of stone which had suffered notable deterioration during the 26 years when it had lain abandoned in a sculptural workshop, exposed to the elements. But as Michelangelo always said, he did not create sculptures, but simply freed them from the marble. And with David, he gave liberty to the most perfectly formed being ever seen in the history of art.


Of course David is not the only gem to be discovered in the Accademia Gallery where he can now be found. There reside a number of the unfinished Michelangelo’s sculptures commenced in anticipation of the great Pope Julius II tomb of which the sculptor’s famous Moses was also intended to be part. Likewise there is a room loaded full of plaster casts, all of which were used to give instructions to fellow scuptors who, like Michelangelo, would come to emerge from this indubitable city of the rebirth of Art. All of it makes a visit to the Accademia gallery a must, but book online to avoid the queues – it’s well worth the not waiting :-).


© Nicholas de Lacy-Brown and The Daily Norm, 2011-2018. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Florence, Land of the Medici (Part 1): The Loggia dei Lanzi

I was in Florence in my imaginings, long before I set foot there on the eve of Christmas Eve. In the weeks preceding our trip, I had been variously transported to the great city of the Renaissance by Mary Hollingsworth, whose new revealing narrative of the Medici family enchanted me before I even turned to the first page. Charting the multiple highs and lows of a family who came to dominate the city of Florence and shape the very fabric of the city to their taste and fancy, the book reminded me that love them or hate them, without the Medici, Florence would never have become the gem which catapulted it to international fame and admiration.

So when I returned to Florence for Christmas, my first visit in over six years, I did so with a mind filled to the brim with tales of the Cosimos and the Lorenzos, of the audacious Grand Dukes and their self-made apotheosis. And in such a state, I could not help but notice their stamp wherever I turned in the city. Barely a metre would pass without their family crest of the 6 balls appearing like an apparition on every stone and surface of Florence. And in striving to fill my trip with some of the city’s greatest masterpieces of art, I was of course undertaking an inadvertent journey along the road of great Medici patronage which, most will agree, underpinned the birth of the Renaissance and promoted artistic excellence to new heights.


No place quite smacks of Medici prowess as the Piazza della Signoria where our trip began. Not only does it play host to the Palazzo Vecchio, once Medici palace and seat of the Florentine government with its sturdy fortress-like walls ensuring all knew of the powerhouse within; it also contains some of the finest works of sculpture ever commissioned during the thriving Florentine Renaissance. Yes, there’s a copy of Michelangelo’s ravishing David (more about him another day), and a rather magnificent bronze statue of Cosimo I, mounted on a horse, but the very best works are contained within the Loggia del Lanzi, the great gallery of public proclamation and official ceremonies. Named after the Lansquenets guards posted there by Cosimo I de’ Medici, today it contains some of the most recognisable masterpieces of the Medici patronage (as well as a good number of ancient treasures collected by the family in Rome).


You can spend a fortune on buying entry tickets for Florence’s many art museums, and a even greater amount of time in queuing, but spend an hour in the Loggia del Lanzi, and you will feast upon true treasure of art history and all for free. Thus we passed a wonderfully calm morning on Christmas Day, drinking in the drama, the emotion and the sheer artistic skill of these incredible works; of Pio Fedi’s ravishing but deeply traumatic Rape of Polyxena, and the equally dramatic, soaring masterpiece of Giambologna’s Rape of the Sabine Women; gazing at the sheer muscle and brawn of Hercules and the Centaur, and admiring the dexterity of antiquity as we enjoyed an equal number of early Roman lions and graceful Trajan women.


Firenze is a city with much to offer. You could spend your time focusing on its famous gelaterias, its bustling leather markets or ambling from one glittering church to another. But one thing which you cannot fail to miss is the influence of the Medici. In many ways, their output will provide the visitor with the most enchanting treat of them all.

© Nicholas de Lacy-Brown and The Daily Norm, 2011-2018. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

From Illyria to Italy, Part 2: Muzeji Ivan Meštrović

Day two of our holiday in the beautiful Adriatic city of Split on the Croatian coast, and scandalously, it started cloudy. Panic stricken at the lack of blue skies, our first question to our hotel receptionist, after choosing a hearty dish of fresh pancakes for breakfast (a recurring gym-body busting pattern I might add) was to ask what we could do in such weather. For culture vultures like ourselves, she recommended the Muzeji Ivan Meštrović, that is the museum of the renowned Croatian sculptor, a fine cultural beacon in the city where he made his name.

The sun had actually come out again by the time we walked along Split’s sunny promenade and made it to the museum set within the lush leafy suburbs of the city. But just as well, or we might have missed out on enjoying the exteriors of the museum which are every bit as stunning as the inside. Surrounding the impressive facade of the perfectly imposing museum building (I tried to find out the history of the building… to me it looks like a fine palace from the Communist era, but it’s hard to tell exactly when it was built) were gardens bounteous in dancing lavender, aromatic pine trees, and a ground scattered with a bed of pine needles, and the best surprise of all, baby little tortoises!


Much charmed by these garden residents, we almost forgot what we had come to see, however the various sculptures created by one of Croatia’s most renowned creatives led us up through the garden, and into the museum itself. Born in 1883 in the small village of Vrpolje, Meštrović completed his artistic training at the Academy of Fine Arts in Vienna, where he fell under the influence of the art nouveau era, and debuted in the first Secessionist exhibition.His work quickly became popular, even with the likes of Auguste Rodin who is reported to have declared Meštrović to be the greatest phenomenon among sculptors and, with characteristic modesty, an even greater sculptor than he was. This early popularity sewed the seeds of his career success, and the sculptor was soon exhibiting internationally as well as setting up home in the city of Split.

His success in the city was not enough to guarantee his safety during the Second World War, and after a brief spell in jail in order to prevent his escape from Croatia, Meštrović eventually secured himself a visa via friends in the Vatican and in Switzerland, emigrating to the US where he was to remain for the rest of his life, unwilling to live under communism. However upon his death he remembered his country, leaving a legacy of some 400 works to Croatia, many of which today form the collection of the Meštrović museum.


What struck us as we traversed the lofty space of this palatial museum were the viscerally real emotions the sculptor managed to capture in sculptures made of plaster and bronze. In the faces of Christ, or Mary, or in the portraits he made of friends, you are struck by an intensity of emotion, as though metal could talk, or scream, or cry. There is a sensitivity to these sculptures which is truly hyperreal even though, with their elongated heads and exaggerated features, there is a very painterly, interpretative aspect to the works.

We didn’t know the work of Meštrović before our hotel suggested we visit the museum, but as the days in Split continued we started to notice the presence of his work all around the city. And enjoying those works both in his museum, its gardens and in stunning locations in and around Split, it was not at all difficult to imagine why the city has adopted Meštrović as its favourite adopted son.


All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2016 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. 

Art in London (Part 1): Calder’s Mobiles

London is alive with some truly exciting artist retrospectives at the moment, each of them tending to focus on a particular aspect of their creative output. In the National Gallery, the portraiture of Goya is the focus of a major show, and likewise in the National Portrait Gallery where Giacometti and his drawings are the stars. Meanwhile, over the river in Tate Modern, a retrospective of Alexander Calder focuses on the works which surely made him famous…sculptures which dance, perform and are always on the move: his mobiles. 

It’s strange to imagine a world where the mobile, that innocuous moving collection of animals and stars hanging above every respectable baby cot, did not exist. But it was Calder who actually invented this type of sculpture, long before it ever became a favourite of the child’s bedroom, and in doing so Calder showed himself to be one of the first ever proponents of performance art, something which is now such a staple of contemporary art spaces across the world.


Triple Gong, 1948 (© 2015 Calder Foundation, New York / DACS, London)


Untitled, 1963


Gamma, 1947 (© 2015 Calder Foundation, New York / DACS, London)

In creating the mobile, Calder was looking for a work which moved, and evolved. At first his moving sculptures were controlled, either in the form of puppets which would perform in his own Calder Circus Shows (the likes of which were visited in Paris by some of the biggest names of the 20th century art world), or those carefully choreographed by a series of connected motors and pulleys. But the true mobile, the freely moving construction based on a series of shapes, wires and strings, was created in response to Calder’s desire to free abstraction, and for the bold shapes and colours which he had seen in the likes of Mondrian’s tightly structured geometric works to move about without constraint.

And so were born the sculptures for which Calder became synonymous, and which have cropped up in some of the most culturally enriched open public spaces in the world, including here in Palma de Mallorca, and of course that sensational mobile left by Calder himself by the poolside at the Colombe d’Or Hotel in St. Paul de Vence.

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For me, ever so fascinated by the mobiles of Calder, this was truly an exquisite show. I wandered between the mobiles entranced by the poetry in their movements; by the constant slow flow and turns of the wire arms whose many delicate branches create an ever changing and unpredictable dance. And beyond the mobiles, the secondary most beautiful vision were the shadows created on the walls, themselves moving, creating the most beautiful abstract art, albeit free and transitory as Calder would have wished.

It’s a unique opportunity to see so many of Calder’s greatest works in one place, and to understand the revolutionary journey, from canvas to moving mobiles, which prompted him to create these most oscillatory of sculptures.


Vertical Foliage 1941(© 2015 Calder Foundation, New York / DACS, London)

Mobile 4


Antennae with Red and Blue Dots, 1953 (© 2015 Calder Foundation, New York / DACS, London)

Alexander Calder, Performing Sculpture is on at Tate Modern, London, until 3 April 2016.

Discovering Mallorca: Palma’s secret city

Regular readers of The Daily Norm will remember that I am utterly captivated by the charms of a cemetery. It’s not a morbid fascination – far from it. For me, cemeteries are amongst the most beautiful and thought-provoking places you can visit. Somewhere to escape the noise of life, to reflect on the emotional strength of people’s devotion to their families, and to admire some of the most startling sculptures you are likely to see in a small compact space. I have been to many cemeteries in my time, not least here in Spain where the mix of sunshine strained through shady cypress trees is particularly poetic. But if the cemeteries I have seen here before were works of poetry, the municipal cemetery in Palma de Mallorca was nothing short of a masterpiece of theatre.

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Located close to the outer ring road, the cemetery is not exactly walkable from the centre of town, and as a result, it was not until now, with a hire care at our disposal, that we were able to pass by. But this cemetery was worth the wait. Never in all my life have I ever seen such a vast collection of intricately crafted, magnificently devotional sculpture and stunning architecture in such a compact space. The cemetery is probably the biggest I have ever been in, but it is also amongst the most crowded, and row after row and row after row of tombstones are loaded not with simple flat graves, but elegantly and theatrically decorated with stone crosses, angels and other elaborate sculptures so that the result is a veritable forest of ancient stone.

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And most magnificently of all are the series of lavish little side chapels which line the perimeters of the cemetery. Utterly elaborate, constructed in a number of styles from baroque to classical and even 20th century modernist, this collection of buildings looks like an ancient empire, resembling the kind of spectacle which may have been found when entering a roman forum lined with temples.

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But that was not all. For beneath ground level, a secret staircase led down into what was probably the most spectacular aspect of the whole cemetery – a vast double horseshoe-shaped catacomb itself lined with tombs from floor to ceiling, flooded with light from holes in the ceiling, and slowly sprinkled with dust gently falling in the rays of sunshine. It was like something from Indiana Jones, and with road names engraved in latin we felt like we have been catapulted centuries back to an ancient civilisation.

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It was only when we emerged back into the heat of the Mallorca day, the sounds of the nearby ring-road resounding nearby, that we realised we had just found Palma’s secret city.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2015 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

The Honeymoon Chronicles, Part II: Calder’s Pool

On Wednesday I told you all about the earthly paradise that is La Colombe d’Or, and yesterday I shared my first artwork inspired by this epicentre of the arts. And yet I would do La Colombe an injustice if I stopped there. For combine my relentless enthusiasm for all things Mediterranean, with my love of art, and my complete obsession with the effect of light on water, and ripples, and you will be unsurprised that during our stay at that little Provençal Inn, I fell head over heels in love with the swimming pool which languishes at the centre of the hotel.

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Surrounded on three sides by the old stone residences which make up the charming accommodation of La Colombe, and on the other with a spectacular view of the rolling hills around St-Paul de Vence, the swimming pool benefits from lush planting, cypress trees clipped into perfectly curvaceous almost anthropomorphic forms, ancient ceramic pots overflowing with palms and flowers, and quaint wooden loungers each fitted with a distinctive apricot cushion for the ultimate in comfort.

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But above all of the charms of this magical pool is the original art which surrounds it. On the one side, a dark contemplative piece by contemporary geometric artist Sean Scully sounds all wrong on paper, but the dark colours perfectly complement the zing of orange of the sun loungers lined up against it. Opposite, the bird mosaic by Georges Braque fits perfectly harmoniously with the lush vegetation surrounding it, peeking out from behind the cypress trees as though wary of the tourists taking their places alongside the pool. And best of all – that stunning Alexander Calder mobile, whose fast metal arms swing slowly and silently in the still Riviera air, and whose base stands majestically on the water’s edge.
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All combined like the colours mixed on an artist’s palette in ripples moving across the delicate green waters whose depths were punctuated with light manifested in every shade of cerulean blue and forest green. I became fascinated, dazzled by the interplay of colour on the water, and took so many photos that a post dedicated to this phenomenon of La Colombe d’Or was a must.

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All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2015 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Deconstructed Norm Sculptures in a Setting (after Henry Moore)

Henry Moore, the British sculptor, is famous the world-over for his semi-abstract rounded bronze figures and organic wood-carved nudes. His indisputable popularity as one of the greatest sculptors of our age is demonstrated by the sheer proliferation of his works on public display in town centres and parks and the gardens of large country estates throughout the UK and around the globe. His organic, satisfying rounded forms do not offend polite society, but instead offer the right about of minimalist abstraction mixed with sentimental femininity and human characterisation. His sculptures often dominate the landscape, while inviting passers by to interact with the various holes and curves intrinsic to Moore’s work. They are like a Picasso abstract come to life, or a Michelangelo mother and child melted into a tender rounded form.

Henry Moore, Five Figures in a Setting (1937)

Yet it is not his sculptures which attract me. Don’t get me wrong – I love his works. They are satisfyingly curvaceous, with a mixed attraction of sharp edges and smooth polish, a recognisably humanised form with a metaphysical expressionless finish, open to interpretation, and perfectly executed from every angle. But for me, the real stars of any Henry Moore show are his sketches.

Henry Moore, Shelter Sketch Book (1967)

Often he sketched when ideas came into his head. Consequently Moore left us with a great variety of sketches in which we can see Moore exploring the various organic forms which are now famous sculptural manifestations, as well as plenty of rough drawings devoted to the mother and child image that so obsessed him, and paintings in which Moore appears almost to capture his three-dimensional forms, imprisoning them within an eternal two-dimensional abstract landscape. Come the second world war, and Henry Moore was made an official war-artist for Britain, but not as a sculptor. Instead Moore would head down to the packed tube stations, where thousands would huddle, every night, using the dark tunnels and airless platforms of the London underground as make-shift bomb shelters. There he captured moving scenes of humans at one in their vulnerability, trying to sleep through their anxiety, curled up together for moral support.

Henry Moore, Standing Figures and ideas for Sculpture (1948)

Moore’s sketches offer us an invaluable insight into the great sculptor’s mind at times when he would pour his sculptural imaginings straight onto paper, some of which eventually made it into three-dimensional form, but many of which never made it beyond the confines of pen on paper. But these sketches are far more than just studies or ideas. They are works of art in themselves, capturing moments of intense human emotion, with a dark intensity and an often surreal setting. They are artistic masterpieces worthy of as much attention as the finished sculptural articles which have become a staple of British art all over the world.

Ever inspired by the wonderful art around me, I sketched my own Moore-inspired sculptural forms. Taking the humble Norm as the basis for my drawing, I deconstructed my Norm, presenting the customary rounded figure as a body with strings and a hollow inside, a head, two large eyes, the Norm’s characteristic single hand, and a crescent-like structure which I like to think of as an expression of a Norm’s eye-lashes. The result is a sketch full of the abstract surrealism which Moore’s own works promote, but with that hint of Norm playfulness, some strings and a blood-red hollow, all set within a shady landscape leading to nowhere. If only Moore had seen it. The Deconstructed Norm would have been slowly rusting somewhere in a park by now. Unless it was made of metal, in which case it would have been nicked…

Deconstructed Norm Sculptures in a Setting (after Henry Moore) © 2012, Nicholas de Lacy-Brown, pen, pencil and watercolour on paper

I leave you with a mere handful of some of Moore’s incredible works on paper. Until next time…

Henry Moore, Sculptural Objects (1949)

Henry Moore, Sculptural Ideas, hollow form (1938)

Henry Moore, Mother and Child; Drawing for a sculpture in wood and string (1949)

Henry Moore, Crowd Looking at a Tied-uo Object (1942)

Henry Moore, Four Forms, drawing for a sculpture (1938)

Henry Moore, Ideas for Sculpture in a Setting (1938)