Henry Moore's Sheep Sketchbook

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The maquette was enlarged to a 142 centimetres (56 in) plaster working model in 1971, [6] which was then cast in bronze in an edition of 7+1 (seven casts plus an artist's copy).

As a sculpture he was interested in form and texture and in spite of using just biro and felt tip the sketches are animated, interesting and individual. Henry Moore often sketched ideas for his sculptures in pencil, charcoal, color washes, and even ballpoint pen. Kenneth Clark (1903 – 1983) was a British author, museum director, broadcaster, and one of the best-known art historians of his generation. Most encouraging for other artists is the way in which these sketches show a progression in drawing quality - even great artist improve with practise!

A cast was loaned for the public exhibition in Battersea Park for Elizabeth II's Silver Jubilee in 1977, and a cast was included in an exhibition organised by the Musée de l'Orangerie in Paris, and displayed in the Tuileries the same year. in 1972 Henry Morre’s studio looked out over fields from where he drew these sheep- that would come right up to his window. Sheep Piece is a sculpture by Henry Moore made in three sizes from 1969-1972, starting in 1969 with a 14 centimetres (5.

He used a regular ball-point pen, allowing him the ease to glide over the paper when necessary but also to swirl violently and cut into it. I notice how there are few actual outlines-Moore – rarely started his sketches by outlining his sheep, but started shading straight away. He drew the sheep again that summer after they were shorn, when he could see the shapes of the bodies which had been covered by wool.Zig-zags and rushed ball point pen lines dominate the drawings, thicker and more panicked scratches where there is less light and softer yet still sudden and vigorous on the brighter parts of the scene.

Moore also rarely started his sketches by outlining his sheep, but started shading straight away, a risky strategy especially with the use of ball point pen but nonetheless effective. The animals stand out in the landscape in the same, oblique way as his own sculptures, simultaneously fitting in and seeming anomalous.

He was often photographed in physical contact with his work, holding it as the maker or resting his hands on it as in ownership.