Upright motives door Henry Moore, 1955-56


                              Nr 1 (Glenkiln Cross), nr 2 en nr 7









Henry Moore: “In 1955 I was asked to consider making a sculpture for a courtyard of a new building [Olivetti] in Milan. I visited the site and a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea grew ultimately into the ‘Upright Motifs’.


Back home in England I began the series of maquettes. – I started balancing different forms one above the other, - with results rather like the North-West American totem poles, - but as I continued the attempt gained more unity, also perhaps more organic, - and then one in particular (later to be named ‘Glenkiln Cross’), took on the shape of a crucifix, - a kind of worn down body and a cross merged into one.”



Naar aanleiding van de opdracht in Milaan maakte Moore uiteindelijk twaalf verticale vormen die hij in brons liet gieten. In het Yorkshire Sculpture Park staat eenzelfde drietal als in de Otterlo-groep die Moore in 1965 samenstelde voor de Hoge Veluwe.

Oorspronkelijk heette die beeldengroep ‘The crucifixtion’, het verwees naar Golgotha, maar Moore veranderde toch de titel omdat hij niet gelovig was en ‘did not want to play about with borrowed symbols’.









Henry Moore (1898-1986)






                                                                                                                            collectie Tate





Yorkshire Scupture Park, Engeland


Foto’s: juli 2016




Startpagina Buitenbeeldinbeeld



Startpagina Yorkshire Sculpture Park