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.
Image courtesy of The Baltimore Museum of Art: Alan and Janet Wurtzburger Collection BMA 1974.62.6
The two-piece sculptures pose a problem of relationship: the kind of relationship between two people. It’s very different once you divide a thing into three. In the two-piece you have just the head end and the body end, or the head end and the leg end, but once you get the three-piece you have the middle and the two ends; and this became something that I wanted to do. I tried several ideas before this one, and what led me to this solution was finding a little piece of bone that was the middle of a vertebra, and I realised then that perhaps the connection was through one piece to another – one could have gone on and made a four- or five-piece, like a snake carrying through with its vertebrae. In a way, the more pieces you make, the bigger the divisions are becoming, the easier it is: if you made a figure of ten pieces, then this dividing up would become a formula; it would become an accepted thing and if you had a head and shoulder, pelvis, two thighs, legs, two feet, you can place all those and you make it up into one figure.
Henry Moore quoted in 'Henry Moore Talking: A Conversation with David Sylvester', The Listener, 29th August 1963, p.306