New York

Henry Moore

Kent Fine Art

Ranging from a few inches in height to larger than life-size, the bronze sculptures that cover the last forty years in the career of the late Henry Moore are striking evidence of the artist’s ability to transcend the physicality of scale. Take, for example, Reclining Figure No. 2, 1953, which measures 16 by 36 1/4 by 14 3/8 inches, or Large Torso: Arch, 1962–63, 78 1/2 by 60 by 42 1/2 inches. In the final analysis, each of these sculptures is immeasurable, assuming the illimitable magnitude of an archetype. Contained in these forms are the kernels of grand, even noble ideas about art and life that have deep meaning for all of us.

Those grown accustomed to the ironic and appropriative strategies of Post-Modernism may have some trouble with Moore’s work. Like the tradition of the reclining figure found in pre-Columbian and classical art, which it continues, his Reclining Figure No. 2 demands

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