Real artists eat lunch
SCULPTORS are very rarely household names, but no one who lived through the 1960s could be unfamiliar with the name of Henry Moore. At the height of his international success, Moore’s monumental public sculptures in prominent locations—from the 12ft-high Knife Edge Two Piece (1962–65) outside London’s Houses of Parliament to the 26ft-long Reclining Figure (1963–64) outside the Lincoln Centre in New York, US—became such a feature of the urban landscape that they appeared in cartoons in the popular press. For a Modernist abstract sculptor, that was fame.
Moore had come a long way in the 30 years since his exhibition at the Leicester Galleries, in 1931, was denounced by the for promoting ‘the cult of
