Draped Reclining Woman 1957-58 (LH 431)


length 208.5cm
on loan from the Tate

Drapery played a very important part in the shelter drawings I made in 1940 and 1941 and what I began to learn then about its function as form gave me the intention, sometime or other, to use drapery in sculpture in a more realistic way than I had ever tried to use it in my carved sculpture. And my first visit to Greece in 1951 perhaps helped to strengthen this intention... Drapery can emphasise the tension in a figure, for where the form pushes outwards, such as on the shoulders, the thighs, the breasts, etc., it can be pulled tight across the form (almost like a bandage), and by contrast with the crumpled slackness of the drapery which lies between the salient points, the pressure from inside is intensified... Drapery can also, by its direction over the form, make more obvious the section, that is, show shape. It need not be just a decorative addition, but can serve to stress the sculptural idea of the figure.

Henry Moore quoted in Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, edited by Robert Melville and recorded by the British Council 1955: typescript; copy in HMF library