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“... Henry Moore was attracted by the idea of monumentality. He tried hard, but with limited success, to find ways of incorporating his sculpture into modern buildings. He also had the attractive idea of locating some of his statues in remote settings, following the example of his friend the late Sir William Keswick, who placed four of Moore’s sculptures, as well as one by Rodin and one by Epstein, in the wild landscape of the estate he owned in south-west Scotland ...”

“... European Modernism’s finest and fiercest. The painters and sculptors run from Arp and Braque to Henry Moore, Antoine Pevsner and Tatlin; the architects from Aalto and Breuer to Tecton; the writers from the scientist J.D. Bernal and the architects Le Corbusier and Gropius, by way of the painter Mondrian, to the typographer Tschichold. The book begins:A ...”

“... Henry Moore is an investigation in two parts. There is the exhibition at the University of East Anglia’s Sainsbury Centre (recently closed), which travels in mid-November to the Yale Centre for British Art in New Haven. And then there is the remarkable book that accompanies it: 250 illustrations of photographs, sculptures and drawings, many full page; ten scholarly essays; a mass of new material on the two artists, in particular their engagement with Britain’s experience of the Second World War (Yale, £50 ...”

“... Henry Moore, ‘War: Possible Subjects’ (1940-41) Sculpture was once strong on monuments and memorials. Now it’s a puzzle to know what to do with an empty plinth. To embellish a building (not just label it) hardly makes sense when walls are made of glass. In parks and open spaces new pieces, often not much liked, are vulnerable ...”

“... join (or leave), the right moment to change dealers. She was unembarrassed about her resentment of Henry Moore. If Henry’s work was chosen for a Biennale then Barbara’s must go to the next one. If his prices went up so must hers. At the beleaguered British Council a certain Miss Nash annotated one of Hepworth’s ...”

“... the Dunlop Rubber Company and Chairman of the Board of Trade Utility Furniture Committee; admiring Henry Moore, he was immensely proud ‘of having once helped him through the CIAD’ (Central Institute of Art and Design). He was also something of a literary man, who by the age of 51 had published 140 reviews and miscellaneous pieces; of these just four ...”

“... crags latticed with icicles, towards Altissimo. Michelangelo chose stone and worked here, so did Henry Moore. A photo of Moore, sunburnt in a short-sleeved shirt, eyeing a boulder among clean-shaven cliffs and curls of old steel hawser, and soaring white-faced mountains, has drawn me to this place. On the terrace ...”

“... art history taught as such? How many art students are encouraged to see themselves as the heirs of Moore, Piper, Sutherland, Nicholson and Hepworth, let alone of Reynolds, Constable or Turner? And yet we wonder why our national tradition appears so enervated.’ Reynolds, Constable and Turner were all passionately patriotic and the first two were capable of ...”

“... cliché, an apparent allegory that can’t be allegorised. Meirelles’s film, starring Julianne Moore, Mark Ruffalo, Danny Glover and Gael García Bernal, is stylish and inventive at times, but keeps turning dogged, and is devoted to the allegory Saramago so studiously seeks to avoid. Much of the movie is lost in the flatlands of the medium, the sheer ...”

“... about their origins. In one case of Cycladic figures in the Ashmolean there is a quotation from Henry Moore, who much admired their bleached simplicity and purity of form. In the same case there is a replica of one of them that has been given the touches of colour they probably all had when they were new. Moore might ...”

“... be said. Sculpture in England is a special case. I shall put it aside, essentially, till I come to Henry Moore, whose room in the Tate exhibition is far and away the strongest. But simply this, for the present: sculpture had the advantage, it seems to me, if our subject is metropolitan taste, of being always a less mannerly, more laborious art. It was a ...”

“... in her St Ives studio. At the start, we find Hepworth and the other carvers of her generation – Henry Moore, Ursula Edgcumbe, John Skeaping – making common cause with a slightly older cohort, Jacob Epstein, Eric Gill, Gaudier-Brzeska, Elsie Henderson, Alan Durst. In works produced both before and after World War One, they began to remake the look and ...”

“... Maureen O’Sullivan. The four of us from Beyond the Fringe had been invited as a unit and Dudley Moore had been prevailed on (may even have volunteered) to play the piano. With Coward in the room this was perhaps foolhardy and having watched him for a while Coward turned away, saying: ‘What a clever young man. He can play on the black notes as well as the ...”

“... lover of serious art. To stroke, or to desire to stroke, the curvaceous surface of a sculpture by Henry Moore or Barbara Hepworth is of course an entirely proper response to stone or bronze. But to feel, furtively, because we half-believe, and wish to tease ourselves that we do believe, that the bronze hat, or boot, or whatever, is real, or the marble ...”

“... In February 1932, on the occasion of George Moore’s 80th birthday, a group of distinguished London literati published an encomium in the Times paying homage to ‘a master of English letters’. Today there are few critics who would find a place for him in a pantheon of English novelists – of his 16 novels and numerous short stories, only Esther Waters counts as a ‘Penguin Classic ...”