ABSTRACT
In the sculpture of Henry Moore artists are given a world of forms in which this affinity for the organic is asserted and reasserted with total belief in its aesthetic efficacy. True of his oeuvre as a whole, it is especially true of his work of the last decade which is on view in a large double exhibition at the M. Knoedler and Marlborough-Gerson galleries. Indeed, in the carvings and bronzes of the 1960's Moore seems more intent than ever before in calling their attention to this organic element in his work. Moore has long been drawn to this realm of visual ambiguity. His taste for the kind of poetry it yields him sets his work apart even from the tradition of carving that first nourished him. Moore is, then, a Romantic—and a very English Romantic at that. He is the true heir to the great nineteenth-century landscape painters.
