Henry Moore
Moore in 1975, by Allan Warren
Birth name	Henry Spencer Moore
Born	30 July 1898 (1898-07-30) Castleford, Yorkshire, England
Died	31 August 1986 (1986-09-01) (aged 88) Much Hadham, East Hertfordshire, England
Nationality	English
Field	sculpture, drawing, graphics, textiles
Training	Leeds, London
Movement	Bronze Sculpture, Modernism
Works	Reclining Figures, 1930s – 1980s
Influenced by	Michelangelo, Giovanni Pisano, Gothic art, Pre-Columbian art
Influenced	Sir Anthony Caro, Phillip King, Isaac Witkin (former assistants)
Awards	OM CH FBA

Henry Spencer Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English sculptor and artist. He was best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire.

Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfill large-scale commissions made him exceptionally wealthy. Yet he lived frugally and most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.^[1]

Early life[link]

Moore was born in Castleford, West Yorkshire, England, to Mary Baker and Raymond Spencer Moore. His father was of Irish origin and became pit deputy and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement.^[2] Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements at a Sunday School reading.

On his second attempt he was accepted at Castleford Secondary School, where his headmaster soon noticed his talent and interest in medieval sculpture,^[3] and which several of his siblings had attended. His art teacher broadened his knowledge of art, and, with her encouragement, he determined to make art his career; first by sitting for examinations for a scholarship to the local art college.

Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended. Upon turning eighteen, Moore volunteered for army service. He was the youngest man in the Prince of Wales's Own Civil Service Rifles regiment, and was injured in 1917 in a gas attack during the Battle of Cambrai.^[4] After recovering in hospital, he saw out the remainder of the war as a physical training instructor, only returning to France as the Armistice was signed. In stark contrast to many of his contemporaries, Moore's wartime experience was largely untroubled. He recalled later, "for me the war passed in a romantic haze of trying to be a hero."^[5]

Beginnings as a sculptor[link]

A Chac Mool stone statue at Chichen Itza site, Yucatan Peninsula, Mexico. This reclining Toltec-Maya figure influenced Moore's sculpture.

After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development.^[6] In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.

The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuşi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child^[7] by first modelling the relief in plaster, then reproducing it in marble using the mechanical technique of "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.

In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.^[8]

Hampstead[link]

On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928–29), was one of the four 'wind' reliefs high on the walls of London Underground's headquarters at 55 Broadway.^[9] The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Russian–Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.

West Wind, 1928–29; Moore's first public commission was carved from Portland stone and shows the influence of Michelangelo's figures for the Medici Chapel and the Chac Mool figure.

Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead on Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists").^[10] This led to a rapid cross-fertilization of ideas that Read would publicize, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore.

In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art.^[11] Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work,^[12] partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, George Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. Moore and Nash were on the organizing committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings.

This inventive and productive period was brought to an end by the outbreak of the Second World War. The Chelsea School of Art evacuated to Northampton and Moore resigned his teaching post. During the war, Moore was commissioned as a war artist, notably producing powerful drawings of Londoners sleeping in the London Underground while sheltering from the Blitz.^[13] These drawings helped to boost Moore's international reputation, particularly in America. After their Hampstead home was hit by bomb shrapnel in September 1940, he and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from the Church of St. Matthew, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.^[14]

Later years[link]

Family Group (1950) bronze, Barclay School, Stevenage, Hertfordshire. Moore's first large-scale commission after World War II.

After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946.^[15] The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.^[16] From the late 1930s Kenneth Clark became an unlikely but influential champion of Moore's work,^[17] and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.

Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.^[18] Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.

In the 1950s, Moore began to receive increasingly significant commissions, including a reclining figure^[19] for the UNESCO building in Paris in 1958. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro^[20] and Richard Wentworth.^[21]

On the campus of the University of Chicago in December 1967, 25 years to the minute^[22] after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the squash courts beneath which the experiments had taken place.^[23] This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."^[24] In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognize the space exploration program.^[25]

Moore in his studio in England (1975), by Allan Warren

The last three decades of Moore's life continued in a similar vein; several major retrospectives took place around the world, notably a very prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence. Following the pioneering documentary 'Henry Moore', produced by John Read in 1951, he appeared in many films. In 1964, for instance, Moore was featured in the documentary "5 British Sculptors (Work and Talk)" by American filmmaker Warren Forma. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. The number of commissions continued to increase; he completed Knife Edge Two Piece in 1962 for College Green near the Houses of Parliament in London. According to Moore, "When I was offered the site near the House of Lords ... I liked the place so much that I didn't bother to go and see an alternative site in Hyde Park — one lonely sculpture can be lost in a large park. The House of Lords site is quite different. It is next to a path where people walk and it has a few seats where they can sit and contemplate it."^[26]

As his wealth grew, Moore began to worry about his legacy. With the help of his daughter Mary, he set up the Henry Moore Trust in 1972, with a view to protecting his estate from death duties. By 1977, he was paying close to a million pounds a year in income tax; to mitigate his tax burden, he established the Henry Moore Foundation as a registered charity with Irina and Mary as trustees. The Foundation was established to encourage the public appreciation of the visual arts and especially the works of Moore. It now runs his house and estate at Perry Green, with a gallery, sculpture park and studios.^[27]

In Germany, Henry Moore became abruptly known when - in 1979 - his sculpture "Large Two Forms" was installed in the forecourt of the German Chancellery (before the German reunificatioon in October 1990, Bonn was the capital city of Western Germany).^[28]

Henry Moore died on 31 August 1986, at the age of 88, in his home in Much Hadham, Hertfordshire where his body is interred in Perry Green churchyard.

In December 2005, thieves entered a courtyard at the Henry Moore Foundation and stole a bronze sculpture. Closed-circuit-television footage showed that they used a crane to lower the piece onto a stolen flatbed truck. The 1969–70 work, known as Reclining Figure (LH 608) is 3.6 metres long, 2 metres high by 2 metres wide, and weighs 2.1 tonnes. A substantial reward was offered by the Foundation for information leading to its recovery. By May 2009, after a thorough investigation, British officials said they believe the work, once valued at £3 million (US$5.3 million), was probably sold for scrap metal, fetching about £5,000.^[29][30]

The Art Gallery of Ontario's Henry Moore collection is the largest public collection of his works in the world.

Style[link]

Reclining Figure (1951), Fitzwilliam Museum, Cambridge

The aftermath of World War II, The Holocaust, and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as Jean-Paul Sartre advocated a similar reductive philosophy.^[31] At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history".^[32] Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.^[31]

Moore's bronze "Die Liegende" (located in Stuttgart) is typical of his early reclining figures.

Moore's signature form is a reclining figure. Moore's exploration of this form, under the influence of the Toltec-Mayan figure he had seen at the Louvre, was to lead him to increasing abstraction as he turned his thoughts towards experimentation with the elements of design. Moore's earlier reclining figures deal principally with mass, while his later ones contrast the solid elements of the sculpture with the space, not only round them but generally through them as he pierced the forms with openings.

Earlier figures are pierced in a conventional manner, in which bent limbs separate from and rejoin the body. The later, more abstract figures are often penetrated by spaces directly through the body, by which means Moore explores and alternates concave and convex shapes. These more extreme piercings developed in parallel with Barbara Hepworth's sculptures.^[33] Hepworth first pierced a torso after misreading a review of one of Henry Moore's early shows. The plaster Reclining Figure: Festival (1951) in the Tate, is characteristic of Moore's later sculptures: an abstract female figure intercut with voids. As with much of the post-War work, there are several bronze casts of this sculpture. When Moore's niece asked why his sculptures had such simple titles, he replied,

"All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know." ^[34]

Moore's early work is focused on direct carving, in which the form of the sculpture evolves as the artist repeatedly whittles away at the block. In the 1930s, Moore's transition into modernism paralleled that of Barbara Hepworth; the two exchanged new ideas with each other and several other artists then living in Hampstead. Moore made many preparatory sketches and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; even when he had arthritis, he still was able to draw.^[35]

Wall Relief no. 1, Bouwcentrum in Rotterdam, 1955

After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions. As a matter of practicality, he largely abandoned direct carving, and took on several assistants to help produce the larger forms based on maquettes. By the end of the 1940s, he produced sculptures increasingly by modelling, working out the shape in clay or plaster before casting the final work in bronze using the lost wax technique. These maquettes often began as small forms shaped by Moore's hands—a process which gives his work an organic feeling. They are from the body. At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final moulding and casting at a bronze foundry. Moore often refined the final full plaster shape and added surface marks before casting.^[36]

Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. In 1953, he completed a four-part concrete screen for the Time-Life Building in New Bond Street, London, and in 1955 Moore turned to his first and only work in carved brick, "Wall Relief" at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision.

Legacy[link]

Sir Anthony Caro, Dream City (1996), rusting steel, at the Yorkshire Sculpture Park

Most sculptors who emerged during the height of Moore's fame, and in the aftermath of his death, found themselves cast in his shadow. By the late 1940s, Moore was a worldwide celebrity; he was the voice of British sculpture, and of British modernism in general. The next generation was constantly compared against him, and reacted by challenging his legacy, his "establishment" credentials and his position. At the 1952 Venice Biennale, eight new British sculptors produced their Geometry of Fear works as a direct contrast to the ideals behind Moore's idea of Endurance, Continuity.^[37]

Yet Moore had a direct influence on several generations of sculptors of both British and international reputation. Among the artists who have acknowledged Moore's importance to their work are Sir Anthony Caro,^[38] Phillip King^[39] and Isaac Witkin,^[40] all three having been assistants to Moore. Other artists whose work was influenced by him include Lynn Chadwick, Eduardo Paolozzi, Bernard Meadows, Reg Butler, William Turnbull, Robert Adams, Kenneth Armitage, and Geoffrey Clarke.^[41]

His work, however, has frequently been subject to vandalism, especially in Europe and America wherever it was publicly proposed to buy or show Moore's work. His King and Queen (1952-1953) were decapitated in Dumfries in 1995^[42] and daubed with blue paint in Leeds. His Recumbent Figure had her head chopped off on a wartime loan to the Museum of Modern Art in New York, his Spindle Piece (1968-69) was vandalised with metal chains in Houston, and his Draped Seated Woman (1957-58) ended up tarred and feathered in the Ruhr.^[43]

Today, the Henry Moore Foundation manages the artist's former home at Perry Green in Hertfordshire as a visitor destination, with 70 acres of sculpture grounds as well as his restored house and studios. It also runs the Henry Moore Institute in Leeds which organises exhibitions and research activities in international sculpture. Popular interest in Moore's work was perceived by some to have declined for a while in the UK but has been revived in recent times by exhibitions including Henry Moore at Tate Britain in 2010 and Moore at Kew and Hatfield in 2007 and 2011 respectively. The Foundation he endowed continues to play an essential role in promoting contemporary art in the United Kingdom and abroad through its grants and exhibitions programme.^[44]

Exhibitions[link]

Moore’s first solo sculpture exhibition was held at Warren Gallery in London in 1928.^[45] His first retrospective took place at Temple Newsam, Leeds, in 1941. Moore was given his first major retrospective abroad by the Museum of Modern Art, New York, in 1946.^[46] In 1948, Moore was one of the featured artists of the Festival of Britain in 1951^[47] and documenta 1 in 1955. His sculpture and drawings have since been the subject of many museum exhibitions and retrospectives, including the Whitechapel Gallery, London (1957); Tate Gallery, London (1968); Forte di Belvedere, Florence (1972); Tate Gallery and the Serpentine Gallery, London for the occasion of Moore’s eightieth birthday (1978); Metropolitan Museum of Art, New York (1983); Yorkshire Sculpture Park, Wakefield (1987); Royal Academy of Arts, London (1988); Shanghai Art Museum (2001); National Gallery of Art, Washington D.C. (2001); CaixaForum, Barcelona, (2008); Kunsthal, Rotterdam (2006, travelled to Didrichsen Art Museum, Helsinki in 2008); Kew Botanical Gardens, London (2007–08); Tate Britain (2010); and the Kremlin Museum, Moscow (2012).^[48]

Collections[link]

The Henry Moore Sculpture Centre in the Art Gallery of Ontario, Toronto, opened in 1974. It comprises the world’s largest public collection of Moore’s work, most of it donated by him between 1971 and 1974. Moore presented 36 sculptures, as well as drawings, maquettes and other works to the Tate Gallery in 1978.^[49]

Recognition[link]

In 1948, Moore won the International Sculpture Prize at the Venice Biennale^[50].

He turned down a knighthood in 1951 because he felt that the bestowal would lead to a perception of him as an establishment figure and that "such a title might tend to cut me off from fellow artists whose work has aims similar to mine".^[51] He was, however, awarded the Companion of Honour in 1955 and the Order of Merit in 1963.

He was a trustee of both the National Gallery and Tate Gallery.^[52] His proposal that a wing of the latter should be devoted to his sculptures aroused hostility among some artists. In 1975, he became the first President of the Turner Society,^[53] which had been founded to campaign for a separate museum in which the whole Turner Bequest^[54] might be reunited, an aim defeated by the National Gallery and Tate Gallery.

Art market[link]

By the end of his career, Moore was the world’s most successful living artist at auction. In 1982, four years before his death, Sotheby's in New York sold a 6ft Reclining Figure (1945), for $1.2 million to collector Wendell Cherry. Although a first record of $4.1 million was set in 1990, Moore’s market slumped during the recession that followed. His eight-foot bronze, Reclining Figure: Festival (1951) sold for a record £19.1 million at Christie's, making him the second most expensive 20th century British artist after Francis Bacon.^[55]

Gallery[link]

References[link]

Notes

Bibliography[link]

• Beckett, Jane; Russell, Fiona. Henry Moore: Space, Sculpture, Politics. Burlington, Vermont: Ashgate, 2003. ISBN 0-7546-0836-0
• Causey, Andrew. Sculpture Since 1945. Oxford: Oxford University Press, 1998. ISBN 0-19-284205-6
• Grohmann, Will. The Art of Henry Moore. New York: H.N. Abrams, 1960.

Further reading

• Hedgecoe, John. A Monumental Vision: The Sculpture of Henry Moore. Collins & Brown. ISBN 1-55670-683-9
• Henry Moore: At Dulwich Picture Gallery. Scala Publishers, 2004. ISBN 1-85759-352-9
• Kosinski, Dorothy (ed). Henry Moore: Sculpting the 20th Century. New Haven and London: Dallas Museum of Art/Yale University Press, 2001
• O'Reilly, Sally; Oliver, Clare. Henry Moore. Scholastic Library, 2003 ISBN 0-531-16643-0
• Seldis, Henry J. Henry Moore in America. Praeger Publishers and the Los Angeles County Museum of Art.
• Sylvester, David. Henry Moore. Arts Council of Great Britain, London, 1968
• The Henry Moore Foundation, "Moore: The Graphics", 2007 ISBN 0-906909-26-0
• J. Darracott, Henry Moore War Drawings (1975)

External links[link]

Wikimedia Commons has media related to: Henry Moore

Wikiquote has a collection of quotations related to: Henry Moore

• Henry Moore Foundation—Moore Biography and chronology
• Henry Moore Foundation - location of Moore's public art around the world
• "The Enigma of Henry Moore" by Brian McAvera. Sculpture Magazine, July/August 2001: Vol. 20, No. 6.
• BBC article with archive film of Moore at work
• 3D model of Recumbent Figure (1938) from Tate
• The UNESCO Works of Art Collection
• An Intimate Moore, Tom Freudenheim, The Wall Street Journal, 30 June 2010

v t e Henry Moore Sculptures Large Interior Form · Man Enters the Cosmos · Nuclear Energy Assistants Sir Anthony Caro · Phillip King · Richard Wentworth · Isaac Witkin Associated with Barbara Hepworth Supporters Kenneth Clark Institutions Henry Moore Foundation

Murray McLauchlan
Murray McLauchlan performing at Winterlude 2009 in Ottawa, Ontario Canada.
Background information
Born	(1948-06-30) June 30, 1948 (age 63)
Origin	Paisley, Renfrewshire, Scotland
Genres	Country, folk
Occupations	Singer-songwriter
Years active	1972–present
Labels	True North Capitol

Murray McLauchlan, CM (born June 30, 1948) is a Canadian singer, songwriter, guitarist, pianist, and harmonica player.

Biography[link]

Born in Paisley, Renfrewshire, Scotland, he immigrated to Canada with his family when he was five years old. At 17, he began playing at coffeehouses in Toronto's Yorkville area and later attended Central Tech as an art student before deciding to become a full-time musician. He is best known in Canada for his Canadian smash hits "Farmer's Song" and "Down by the Henry Moore", which was about a sculpture in front of Toronto's city hall, where students met in the '60s and early 1970s. McLauchlan has had success in the pop, adult contemporary, country, and folk-music fields, with such songs as "Child's Song," the Juno Award-winning "Farmer's Song" (1973), "Hurricane of Change" (also 1973), "Do You Dream of Being Somebody" (1975), and "Whispering Rain" (1979).

In 1987, McLauchlan appeared on the children's television show, Sharon, Lois & Bram's Elephant Show singing his Juno-Award-Winning Farmer's Song. He appeared in Season 4 of The Elephant Show on the "Urban Cowboy" episode.

McLauchlan holds a commercial licence with instrument rating and endorsements for multi-engine aircraft and seaplanes. In the late 1990s McLauchlan was flying commercial airplanes as a "bush pilot" in Northern Canada. He starred in a television special called Floating over Canada, in which he piloted a Cessna 185 float plane across Canada. This special was broadcast on U.S. public television on PBS, as well as in Canada on CBC.

In 2004 McLauchlan helped form a group known as "Lunch At Allen's" featuring McLauchlan, Marc Jordan, Cindy Church and Ian Thomas. Formed as a result of meeting in Toronto for lunch at Allen's restaurant after McLauchlan's heart bypass surgery. Three CDs have been released as a result of this collaboration: Lunch at Allens (2004), Catch the Moon (2007) and More Lunch at Allens (2010).

Awards[link]

McLauchlan has won 10 Juno Awards throughout the 1970s and 1980s, and been nominated for a total of 23 Juno awards.

In 1993, he was made a Member of the Order of Canada.

In 1998, Pengiun (Viking Books) released his autobiography The Ballad of Murray McLauchlan: Getting Out of Here Alive.

Family[link]

He is married to Denise Donlon and they have a son, Duncan.

Discography[link]

Albums[link]

Singles[link]

See also[link]

• Canadian rock
• Music of Canada

Further reading[link]

External links[link]

Wikimedia Commons has media related to: Murray McLauchlan

• Murray McLauchlan at The Canadian Encyclopedia

Tim Marlow (born 1963) is a British writer, broadcaster and art historian. He is best known for his regular feature on Channel Five - Tim Marlow on..., an occasional series in which he looks at current art exhibitions. He has also had several other art programs, radio programs and publications.

Early life[link]

Marlow was born in Long Eaton, Derbyshire, England, and grew up in Chesterfield.^[1]

Education[link]

Marlow was educated at Denstone College, a boarding independent school for boys (now co-educational), in the village of Denstone in Staffordshire in Central England, and at the Courtauld Institute of Art, from which he gained a Master's degree.^[2]

Life and career[link]

Marlow has presented numerous art programmes on UK television including studies of J. M. W. Turner, John Constable, living artists, the Tate Modern, the Metropolitan Museum of Modern Art in New York, Raphael, etc. He has written about art and culture for The Times, The Guardian, The Independent on Sunday, Arena, Art Monthly, Blueprint and many other newspapers and periodicals. ^[3] In 1993, he founded Tate: The Art Magazine.^[3] From 1991 to 1998, he presented BBC Radio 4's arts programme Kaleidoscope, for which he won a Sony Award.^[3] Marlow also presented the weekly BBC World Service cultural discussion programme Culture Shock from 2002-2008.^[4]

Marlow is Director of Exhibitions at White Cube in London. ^[3] His books and monographs include studies of the French sculptor Auguste Rodin and the Austrian expressionist painter Egon Schiele, and a survey of great artists published by Faber.^[3]

He is visiting lecturer at Winchester School of Art. He is an examiner on the Sculpture MA and former Creative Director of Sculpture at Goodwood.^[5]

He is married to television producer Tanya Hudson. They live in East London.

Publications[link]

• The Nude in Art
• Constable
• The Impressionists, by Tim Marlow (Paperback)
• Grenville Davey by Tim Marlow, James Roberts, and Isabelle Rein Harez (Hardcover - Mar 1994)
• Schiele by Tim Marlow (Paperback - Sep 1999)
• Anthony Caro: The Cascades Sculptures by A. Caro and Tim Marlow (Paperback - Aug 1993)
• Rodin by Tim Marlow (Hardcover - Jul 1995)
• David Mach (Art & Design Monographs) by Paul Bonaventura and Tim Marlow (Paperback - 1 Sep 1995)
• The Great Artists: From Giotto to Turner by Phil Grabsky and Tim Marlow (Hardcover - 1 Jan 2002)
• David Mach by Victor De Circasia, Paul Bonaventura, and Tim Marlow (Paperback - April 2002)

Select published articles[link]

• Where it was hip to drip, Independent, (London), 21 Feb 1999 by Tim Marlow
• Schnabel: still smashing after all these years, Independent, (London), 10 Jan 1999 by Tim Marlow
• British art: the whole story in eight parts, Independent, (London), 16 Apr 2000 by Tim Marlow
• The Listener: The geeks who went global, Independent, (London), 29 Oct 2000 by Tim Marlow
• Visual Art: East meets West in new cultural revolution, Independent, (London), 19 Nov 2000 by Tim Marlow
• Obituary: Bryan Robertson, Independent, (London), 26 Nov 2002 by Tim Marlow
• American beauty...Jackson Pollock and Edward Hopper,Evening Standard (London), 13 May 2004 by Tim Marlow
• Hail the mother of all madonnas, Raphael: from Urbino to Rome, Independent on Sunday, Oct 31, 2004 by Tim Marlow
• This Year I Loved, Independent on Sunday, Dec 26, 2004

Television programs[link]

Series[link]

• Great Artists with Tim Marlow
• Easter in Art
• Judgement Day: Images of Heaven & Hell
• The Nude
• Marlow Meets...

One-offs[link]

• Tim Marlow with... Gilbert & George
• Tim Marlow on... Hogarth with Ian Hislop
• Tim Marlow on... Holbein in England
• Tim Marlow on... Carsten Holler at Tate Modern
• Tim Marlow on... Velazquez
• Tim Marlow on... Modern Art Oxford
• Tim Marlow on... Constable: the Great Landscapes
• Tim Marlow on... Highlights of the new Tate Modern
• Tim Marlow on... Kandinsky: the to path to abstraction
• Tim Marlow on... Henri Rousseau: Jungles in Paris
• Tim Marlow on... Rubens: a Master in the Making
• Tim Marlow on... Degas, Sickert & Toulouse-Lautrec
• Tim Marlow on... the British Art Show
• Tim Marlow on... Stubbs & the Horse
• Tim Marlow on... Caravaggio: the Final Years
• Tim Marlow on... the Museum of Modern Art, New York
• Tim Marlow on... The National Gallery's Grand Tour
• Tim Marlow on... David Hockney
• Venice Biennale 2001
• High Five

References[link]

1. ^ "5 Minutes with... Tim Marlow" Talk Talk.co.uk. Retrieved 6 May 2010.
2. ^ [1]
3. ^ ^{a b c d e} BBC Newsnight Review Tim Marlow
4. ^ US Financial Times
5. ^ Tim Marlow

External links[link]

• White Cube Gallery London
• BBC Report
• Tim Marlow Talks to Jane Neal
• Steven Gontarski Interview with Tim Marlow
• Tate Etc Magazine
• Sean Scully: in conversation with Tim Marlow, audio
• Seventh Art Productions for video and DVD copies of many of Tim Marlow's television works

Jenny Saville (born in Cambridge in 1970) is a contemporary British painter and associated with the Young British Artists. She is known for her large-scale painted depictions of naked women.

Life and career[link]

Saville works and lives in Oxford, England.^[1] Saville went to the Lilley and Stone School (now The Grove Specialist Science College), Newark Notts for her secondary education, later gaining her degree at Glasgow School of Art (1988–1992), and was then awarded a six month scholarship to the University of Cincinnati, where she states that she saw "Lots of big women. Big white flesh in shorts and T-shirts. It was good to see because they had the physicality that I was interested in". A physicality that she partially credits to Pablo Picasso, an artist that she sees as a painter that made subjects as if "they were solidly there....not fleeting".^[2]

She studied at the Slade School Of Fine Art between 1992 and 1993. At the end of her postgraduate education, the leading British art collector, Charles Saatchi, purchased her entire senior show. He offered the artist an 18-month contract, supporting her while she created new works to be exhibited in the Saatchi Gallery in London. Rising quickly to great critical and public recognition in part through Saatchi’s patronage, Saville has been lauded for creating conceptual art through the use of a classical standard -- figure painting. Although Saville’s chosen method is quite traditional and seemingly outmoded, she has found a way to reinvent figure painting and regain its prominent position in the context of art history.Known primarily for her large-scale paintings of nude women, Saville has also emerged as a major contemporary artist and leading figure of the Young British Artists (YBA). Her blatantly feminist subject matter, of obese and sometimes faceless women with vast bodies, partly originates from a trip to America. It was while studying at Cincinnati University in Ohio, that Saville’s lifelong fascination with the workings of the human body began to affect her artwork. Much of her work features distorted flesh, high caliber brush strokes and patches of oil color, while others reveal the surgeon’s mark of a plastic surgery operation. In 1994, Saville spent many hours observing plastic surgery operations in New York.^[3]

Saville has dedicated her career to traditional figurative oil painting. Her painterly style has been compared to that of Lucian Freud and Rubens.^{[says who?]} Her paintings are usually much larger than life size. They are strongly pigmented and give a highly sensual impression of the surface of the skin as well as the mass of the body. She sometimes adds marks onto the body, such as white "target" rings.

Since her debut in 1992, Saville's focus has remained on the female body, slightly deviating into subjects with "floating or indeterminant gender," painting large scale paintings of transgender people. Her published sketches and documents include surgical photographs of liposuction, trauma victims, deformity correction, disease states and transgender patients.^[4]

Work[link]

• In her work Branded (1992) Saville creates an oil painting on canvas 7' X 6' feet. In this painting, Saville paints her own face onto an obese female body. The size of the breasts and mid section are very exaggerated by their big size. The figure in the painting is holding folds of her skins which she is seemingly showing off. ^[5]
• In her work Plan (1993) Saville creates an oil painting on canvas, 9' X 7 feet. This painting depicts a nude female figure with contour lines marked on her body, much like that of a topographical map. Saville makes a statement about her work saying " The lines on her body are the marks they make before you have liposuction done to you. They draw these things that look like targets. I like this idea of mapping of the body, not necessarily areas to be cut away, but like geographical contours on a map. I didn't draw on to the body. I wanted the idea of cutting into the paint. Like you would cut into the body. It evokes the idea of surgery. It has lots of connotations."^[6]
• In her work Fulcrum (1999) Saville creates an oil painting on canvas 8 1/2' X 16' feet. In this painting, three obese women are piled on a gurney. Thin vertical strips of tape have been painted over and then pulled off of the canvas, this is creating a sense of geometric measure at odds with the mountainous flesh. ^[7]
• In her work Hem (1999) Saville creates an oil painting on canvas 10' X 7' feet. This painting depicts a very large nude female with lots of subtle textures implied. The bits of orange showing through the stomach add a glow, while the figure's left side is covered with thick white paint as if by a plaster cast, and her pubic area, painted pink over dark brown, resembles carved painted wood.^[8]
• In her work Hybrid (1997) Saville creates an oil painting on canvas 9' X 7' feet. In this painting, the image looks much like patch work. Different components of four female bodies are incorporated together to create a very unique piece.^[9]
• In her work Ruben's Flap (1998-1999) Saville creates an oil painting on canvas 10' X 8' feet. This painting depicts Saville herself, she multiplies her body, letting it fill the canvas space as it does in other works, but what is interesting is the fragmentation. Decisive lines divide the body into square planes, it appears that she is trying to hide the nakedness with the different planes. Saville seems to be struggling to convince herself that the parts of her body are beautiful.^[10]
• In her work Matrix (1999)Saville creates an oil painting on canvas 7' X 10' feet. In this painting, Saville depicts a reclining nude figure with female breasts and genitalia, but with a masculine, bearded face. The genitalia are thrust to the foreground, making them much more of a focus in the picture than the gaze. The arms and legs of the figure are only partly seen, the extremities lying outside the boundary of the picture. The whole is painted in fairly naturalistic fleshy tones.^[11]
• Saville had also created a series of photographs know as Closed Contact (1995-1996). She collaborated with artist Glen Luchford to create a series of C-prints depicting larger female nude lying on Plexiglas. The photos were taken from underneath the glass and depict the female figure very distorted.^[12]

Cover art[link]

Saville's painting Strategy (South Face/Front Face/North Face) appeared on the cover of Manic Street Preachers' third album, The Holy Bible.^[13] Stare (2005) was used the cover of the Manic's 2009 album Journal For Plague Lovers.^[14] This album cover placed second in a 2009 poll for Best Art Vinyl.^[15]

Exhibitions[link]

• Cooling Gallery, London, 1993, when Saatchi bought all her works.
• The controversial 'Sensation' exhibition at the Royal Academy of Art (1997) suddenly brought Saville's work to the attention of the British public at large.
• In 2002, she collaborated with photographer Glen Luchford to produce huge Polaroids of herself taken from below, lying on a sheet of glass.
• "Continuum", September 15 - October 22, 2011 - Gagosian Gallery, New York City
• Norton’s RAW series — Recognition of Art by Women November 15, 2011 - March 4, 2012 Norton Museum of Art, West Palm Beach Flordia

Notes and references[link]

External links[link]

• Detailed biography
• Jenny Saville at Gagosian Gallery
• Saatchi Gallery Additional information on Jenny Saville including artworks, articles, text panels and full biography
• Slade School of Fine Art
• [1]
• [2]
• [3]
• [4]
• [5]

http://theshutteredroom.wordpress.com/2011/07/08/jenny-saville-destroyer-of-false-fetishes-fine-art-year-one-january-2009/]

Ronald "Ron" Mueck (English pronunciation: /mjuːɛk/ or /muːɪk/; born 1958, Melbourne) is an Australian hyperrealist sculptor working in the United Kingdom.

Early work[link]

Ron Mueck began his career working on the Australian children's television program Shirl's Neighbourhood. He was the creative director and made, voiced and operated the puppets Greenfinger the Garden Gnome, Ol' Possum, Stanley the snake and Claude the Crow amongst many others. The show was made for Channel 7 Melbourne between 1979 and 1984, broadcast nationally and starred the ex-lead singer of Skyhooks, Graeme "Shirley" Strachan.

Mueck's early career was as a model maker and puppeteer for children's television and films, notably the film Labyrinth for which he also contributed the voice of Ludo, and the Jim Henson series The Storyteller.

Mueck moved on to establish his own company in London, making photo-realistic props and animatronics for the advertising industry. Although highly detailed, these props were usually designed to be photographed from one specific angle hiding the mess of construction seen from the other side. Mueck increasingly wanted to produce realistic sculptures which looked perfect from all angles.

Sculptor[link]

In 1996 Mueck transitioned to fine art, collaborating with his mother-in-law, Paula Rego, to produce small figures as part of a tableau she was showing at the Hayward Gallery. Rego introduced him to Charles Saatchi who was immediately impressed and started to collect and commission work. This led to the piece which made Mueck's name, Dead Dad, being included in the Sensation show at the Royal Academy the following year. Dead Dad is a silicone and mixed media sculpture of the corpse of Mueck's father reduced to about two thirds of its natural scale. It is the only work of Mueck's that uses his own hair for the finished product.

Mueck's sculptures faithfully reproduce the minute detail of the human body, but play with scale to produce disconcertingly jarring visual images. His five metre high sculpture Boy 1999 was a feature in the Millennium Dome and later exhibited in the Venice Biennale. Today it sits as the centerpiece in the foyer off the Danish Contemporary Art Museum ARoS in Aarhus.

In 1999 Mueck was appointed as Associate Artist at the National Gallery, London. During this two-year post he created the works Mother and Child, Pregnant Woman, Man in a Boat, and Swadled Baby.^[1]

In 2002 his sculpture Pregnant Woman^[2] was purchased by the National Gallery of Australia for A$800,000.

Exhibitions[link]

Ron Mueck's first exhibition in Japan opened on 26 April 2009 at the 21st Century Museum of Contemporary Art, Kanazawa. It ran until 8 August and featured a collection of works displayed over six spaces in the gallery. Among them were Mueck's latest work, "A Girl". The exhibition also included two short films about the artist, covering both his artistic background and his production techniques.

An exhibition was held at The Andy Warhol Museum in Pittsburgh, Pennsylvania, USA, from 12 December 2007 through 30 March 2008. "Ron Mueck at The Andy Warhol Museum" featured seven of the artist’s realistic human sculptures, including: In Bed; A Girl; Wild Man; Spooning Couple; Man in a Boat; Mask II; and Mask III.

A major exhibition of his work was shown as part of the Edinburgh Festival at the Royal Scottish Academy Building until 1 October 2006.^[3] A solo exhibition of nine works by Ron Mueck was presented at the Brooklyn Museum from 3 November 2006 through 4 February 2007.^[4]

An exhibit of his work was also on view at the National Gallery of Canada, in Ottawa from 2 March to 6 May 2007, organized by the Fondation Cartier pour l'Art Contemporain (Paris), in collaboration with the National Gallery of Canada, the Brooklyn Museum and the Scottish National Gallery of Modern Art.

The Modern Art Museum of Fort Worth, Texas, showed an exhibition of thirteen of Mueck's pieces from 24 June 2007, through 21 October 2007. The works in the show include Untitled (Seated Woman) (1999), Dead Dad (1996–97), In Bed (2005), Untitled (Big Man) (2000), Two Women (2005), Crouching Boy in Mirror (1999–2000), Spooning Couple (2005), Mask II (2001–2002), Mask III (2005), Wild Man (2005), and A Girl (2006).^[5]

A major retrospective of Mueck's work was held in his home town of Melbourne, Australia, in April 2010, at the National Gallery of Victoria.

The Christchurch Art Gallery is hosting a touring version of the National Gallery of Victoria's exhibition 2 October 2010 to 23 January 2011.^[6] The antique College of San Ildefonso Mexico 2011

[edit] Chronological list of works^[7]

• Big Baby (1996), silicone, polyurethane, wood, synthetic hair. 85-cm-high model of baby with oversize eyes. (Private collection).
• Mongrel (1996), polyester resin, fiberglass, synthetic fur. Life-sized mongrel dog.(Collection of Sheilagh Tennant, Edinburgh).
• Pinocchio (1996), mixed media - standing boy, perhaps 5 years of age, wearing only underpants. (John and Amy Phelan Collection, New York).
• Dead Dad (1996–97), silicone, acrylic paint and human hair - a 2/3-life-sized sculpture of Mueck's father lying on his back, naked. (Stefan T. Edlis Collection, Chicago).
• Angel (1997), mixed media - a 1/3-scale boy seated on a tall stool, in a brooding pose looking down, sprouting wings made of real goose feathers. (Hoffman Collection, Dallas)
• Big Baby II (1997), polyester resin, fiberglass, silicone, synthetic hair. 85 cm-high model of baby. (Caldic Collectie, Rotterdam).
• Big Baby III (1997), polyester resin, fiberglass, silicone, synthetic hair, cotton. 85 cm-high model of baby. (Stefan T. Edlis Collection, Chicago).
• Man in a Sheet (1997), polyester resin, fiberglass, silicone, polyurethane, aluminum wire, synthetic hair, cotton. Man wrapped in a sheet, bending forward to gaze at floor. (Olbricht Collection, Germany).
• Mask (Self Portrait)(1997) - eight-foot reproduction of Mueck's own face, frowning. Collection of Mr. and Mrs. J. Tomilson Hill. Residing in the Nasher Museum of Art at Duke University.
• Ghost (1998), mixed media - 2 metres tall (3/2 scale?) adolescent girl, in swimming costume, leaning against a wall, face averted. (Tate Gallery)
• Man under Cardigan (1998), silicone, polyurethane, polyester resin, aluminum wire, wool. Naked man, sitting on floor, a woollen cardigan held over his head as if to shelter from rain. (Vicki and Kent Logan Collection).
• Shaved Head (1998), mixed media. Naked man, squatting, arms stretched out, head turned downwards. (Hoffman Collection, Berlin).
• Boy (2000), fibreglass, resin, silicone - a 5-metre-tall sculpture of a boy, crouching. First shown in the UK Millennium Dome exhibition. It is now owned by the art museum ARoS in the city of Aarhus, Denmark, who use it as a trademark piece.
• Seated Woman (1999), mixed media - 1/2 scale clothed, seated, elderly woman, hands clasped, eyes almost closed - (Modern Art Museum of Fort Worth).
• Crouching Boy in Mirror (1999–2002), mixed media. Figure similar to the Millennium Boy, above, but on a much smaller scale, examining his reflection in a mirror. (The Broad art Foundation, Santa Monica).
• Baby (2000), mixed media - tiny naked newborn baby boy, arms akimbo.(Keith and Kathy Sachs).
• Untitled (Big Man) (2000) - a nearly seven-foot sculpture of a naked, completely hairless, belligerent-looking man sitting with his knees drawn up and his elbows resting on his knees, his head in his hand. The work is designed to sit in a corner. Owned by the Hirshhorn Museum and Sculpture Garden in Washington, D.C., it has become one of the museum's most popular works since its acquisition.
• Man in Blankets (2000), mixed media - 1/2 scale - elderly naked man almost completely enveloped in blankets, which form a kind of cocoon. (Hoffman Collection, Dallas). Artist's proof is owned by Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
• Old Woman in Bed (2000), mixed media - 1/2 scale - very elderly or dying woman lying in bed, draped in blankets, asleep. (Anthony d'Offay).
• Standing Man (2000), mixed media. Middle-aged or elderly man dressed in gown and duffle coat. (Private collection, Milan).
• Mask II (2001-2), mixed media. Huge head (the face appears to be Mueck's own), lying on its side as if asleep - private collection.
• Mother and Child (2002), fibreglass, resin, silicone - 1/2 scale naked woman who has just given birth, the baby laid on her stomach with umbilical cord still attached and trailing to the woman's womb. (Bayerische Staatsgemaeldesammlungen, Munich).
• Man in a Boat (2002), mixed media - 1/3 scale naked man seated toward the prow of a 4-metre-long rowing boat. (Private collection).
• Pregnant Woman (2002), fibreglass, resin, silicone - 2.5-metres tall sculpture of a naked pregnant woman clasping her hands above her head. (National Gallery of Australia).
• Swaddled Baby (2002), mixed media - life-sized new-born baby wrapped in swaddling clothes, head on a pillow.
• Head of a Baby (2003), mixed media. Huge head of a baby. (National Gallery of Canada, Ottawa).
• Baby on a Chair (2004), mixed media. Baby wrapped in blanket, placed on a wooden chair. (Collection Glenn Fuhrmann, New York).
• In Bed (2005). Huge (3 x scale?) woman lying in bed, hand raised to her face in a contemplative pose. (Queensland Gallery of Modern Art).
• Mask III (2005), mixed media. Huge (1.5 metre tall) face of a black woman. (Anthony d'Offay).
• Spooning Couple (2005), mixed media. 1/2 scale of partially clothed middle-aged man and woman lying in 'spooning' position as if in bed - artist's collection.
• Two Women (2005), mixed media. Two diminutive, clothed, elderly women, standing as though gossiping. (National Gallery of Victoria, Melbourne, Australia).
• Wild Man (2005), mixed media. A nine-foot sculpture of a naked, bearded, fearful man clutching the stool he is seated on. (McClelland Gallery and Sculpture Park, Langwarrin, Victoria, Australia).
• A Girl (2006), mixed media. Newborn baby, with part of umbilical cord and some blood. (National Gallery of Canada, Ottawa).
• Standing Woman (2007), mixed media. Huge (4-meter high) middle-aged woman, dressed in black. (Towada Arts Center, Towada City, Japan).
• Woman with Sticks (2008), mixed media. 180 cm-high model of naked woman, bent backwards, carrying huge bundle of sticks. (Private collection).

• Drift (2009), mixed media. 2/3-scale man floating on his back on inflatable raft, wearing sunglasses and swimming trunks. (Anthony d'Offay).
• Still Life (2009), mixed media. Slaughtered and plucked chicken, same size as a human being, hung from hook by its feet. (Anthony d'Offay).
• Youth (2009), mixed media. Diminutive figure (65 cm high) of black youth, holding up his T-shirt to examine a wound in his belly. (Anthony d'Offay).

See also[link]

• Duane Hanson
• George Segal
• John De Andrea
• Patricia Piccinini (similar artist)
• Roman sculpture (historical connection)

Notes[link]

1. ^ Greeves, Susanna; Colin Wiggins (2003). Ron Mueck. London: National Gallery Company. pp. 23–41. ISBN 1-85709-167-1. 
2. ^ http://www.nga.gov.au/NewAcquisitions/2003/mueck.htm
3. ^ National Galleries of Scotland - Whatson
4. ^ Brooklyn Museum: Ron Mueck
5. ^ Modern Art Museum of Fort Worth
6. ^ Christchurch Art Gallery | Exhibitions | Ron Mueck
7. ^ Hurlston, David; et al (2010). Ron Mueck (Exhibition Catalog). Melbourne: National Gallery of Victoria. 

External links[link]

• Muecks' studio and work in progress
• Sculpture Magazine article
• 21st Century Museum of Contemporary Art, Kanazawa Japan
• Ron Mueck at the Internet Movie Database
• Ron Mueck at the Fondation Cartier pour l'art contemporain (Paris)
• Ron Mueck Muppet Wiki
• Examples of work at the James Cohan Gallery
• Pregnant Woman at the National Gallery of Australia
• Washington Post gallery
• At the National Gallery of Scotland, 2006
• Article on Ron Mueck in The Guardian
• Solo Exhibition at the Brooklyn Museum
• Details of the exhibition run by English Heritage at Belsay Hall, Northumberland
• Ukiran Hidup Ron Mueck