Photographs of British sculptor Henry Moore and of his home, studio and public sculptures shaped perceptions of him and thus were critical in constructing his artistic persona. Images of the sculptor established a sense of ‘gentlemanly’ yet workmanlike production. Moore’s personality, appearance and the geographical location of his home and studio in the English countryside combined to create a powerful portrait of the artist. Images of Moore and his sculptures were widely disseminated through mass circulation, non-specialist journals. This was significant in shaping public perceptions of him, particularly in the United States which would become the sculptor’s largest market. The positioning of Moore’s sculptures in prominent urban sites resulted in a vast body of photographs which abstracted and adjusted the viewer’s understanding of the works in situ. For example photographs originating from the sculptor’s major 1972 exhibition in Florence show Moore standing with his camera by his sculpture Square Form with Cut, its forms framing the Duomo. In such instances we have a succession of portraits – we see Moore, we see him in the act of photographing one of his works, and we see the cathedral framed by the marble sculpture – one work of art placed in association with another.
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