This is a guide to Moore's sculptures on public display throughout the world. We strive to ensure that all information is accurate, however we recommend that you contact each venue before making a visit. Please also contact us if you spot any mistakes. In some instances it has not been possible to source an image of the actual sculpture in-situ, and on such occasions an alternative image has been used.
Moore’s first exploration of the possibilities of drapery in connection with figurative sculpture took place in the early 1950s, when the demands of a specific commission combined with his free use of plaster in preparation for the casting of the work in bronze culminated in Draped Reclining Figure 1952–53 (LH 336). This successfully added the contours of natural forms as well as a distinct hint of classicism to the repose of his figures, yet preserved that sense of immutability conveyed by the Mexican Chacmool figures that had so profoundly influenced the younger artist. Made towards the end of his life, the travertine Draped Reclining Figure 1978 (LH 706) can be seen as a reworking of the 1950s piece in which all the characteristic features of the original are still evident: the upright neck and head supported on powerful elbows, the repetition of this shape in the draped and elevated knees, the pronounced adherence of the sculpture to its base, even the woman’s distant gaze. In this working model, we can see how the figure’s poise and Moore’s apparently ad hoc scorings to represent the drapery in marble were clearly planned before carving began, showing his intention to create a satisfying – yet logical – pendant to the earlier bronze.