• Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
  • Reclining Figure: Hollows - Henry Moore, Bowman Sculpture Ltd
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Reclining Figure: Hollows

Henry Moore

(English, 1898-1986)

Signed Moore
Inscribed 3/9
Bronze with a dark green patination and lighter green highlights
Height: 4" (9 cm)

Conceived and cast in 1983


Henry Moore was one of the 20th century’s great sculptors and after the Second World War he became Britain’s best-known artist, both at home and abroad. He was influenced by European Modernism and developed an abstract sculptural language, that was hugely significant to the history of art.

Reclining Figure: Hollows is indicative of a feature that is often marked as essential in Henry Moore’s philosophy – the link between the human body and landscape. This way of relating the two features through abstracting the figure became a fundamental part of Moore’s overall approach to sculpture. Viewed from eye level Reclining Figure: Hollows can be seen as transforming from a lying female figure, into a landscape. Additionally, the use of hollows in the form, in this case between the legs and stomach remind us of caves in the landscape, or hollows in tree trunks.

Throughout his career Moore focused on the subjects of the mother and child, the reclining figure, the standing figure, and the head. Just as the human body inspired Moore’s forms, so did the natural world. He often derived ideas from objects such as pebbles, shells and bones, and the way he used them in his work encouraged the viewer to look upon the natural world as one endlessly varied sculpture.

Flint stones in Henry Moore’s studio

Moore’s studio was crammed with what he called ‘library of natural forms’ which he used as direct influences for his sculptures – as he explained in 1963 to critic David Sylvester:

‘I look at them, handle them, see them from all round, and I may press then into clay and pour plaster into that clay and get a start as a bit of plaster, which is a reproduction of the object. And then add to it, change it. In that sort of way something turns out in the end that you could never have thought of the day before.

In essence, Reclining Figure: Hollows can be seen a direct synthesis of the two concepts discussed above; conjuring images of both the natural world and the human body simultaneously – in doing so Moore created a picture of humanity as a powerful natural force.

Works by Henry Moore

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