The British sculptor Henry Moore was a leading figure in the 20th-century art world

英国雕塑家亨利·摩尔是20世纪艺术界的领军人物。

Henry Moore was born in Castleford, a small town near Leeds in the north of England. He was the seventh child of Raymond Moore and his wife Mary Baker. He studied at Castleford Grammar School from 1909 to 1915, where his early interest in art was encouraged by his teacher Alice Gostick. After leaving school, Moore hoped to become a sculptor, but instead he complied with his father's wish that he train as a schoolteacher. He had to abandon his training in 1917 when he was sent to France to fight in the First World War.

亨利·摩尔出生在卡斯特福德，是英格兰北部利兹附近的一个小镇。他是雷蒙德·摩尔和妻子玛丽·贝克的第七个孩子。1909年至1915年，他在卡斯尔福德文法学校学习，他的老师爱丽丝·戈斯蒂克激发了他对艺术的早期兴趣。离开学校后，摩尔曾希望成为一名雕塑家，但他却遵守了父亲的愿望，接受了教师的职业培训。1917年，他被派往法国参加第一次世界大战时，他不得不放弃培训。

After the war, Moore enrolled at the Leeds School of Art, where he studied for two years. In his first year, he spent most of his time drawing. Although he wanted to study sculpture, no teacher was appointed until his second year. At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London. In September 1921, he moved to London and began three years of advanced study in sculpture.

战争结束后，摩尔就读于利兹艺术学院，并在那里学习了两年。第一年，他大部分时间都在画画。尽管他想学习雕塑，但直到第二年学校才安排了老师给他。那年年底，他通过了雕塑考试，并获得了伦敦皇家艺术学院的奖学金。1921年9月，他移居伦敦，开始了为期三年的高级雕塑学习。

Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture. As he became increasingly interested in these 'primitive' forms of art, he turned away from European sculptural traditions.

除了在皇家学院接受的指导外，摩尔还参观了许多伦敦博物馆，尤其是大英博物馆，那里收藏了各种各样的古代雕塑。在参观中，他发现了古代埃及和非洲雕塑的力量和美。随着他对这些“原始“艺术形式的兴趣日益浓厚，他逐渐弃用了欧洲的雕塑传统。

After graduating, Moore spent the first six months of 1925 travelling in France. When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit. It was a male reclining figure with its knees drawn up together, and its head at a right angle to its body. Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed. He himself started carving a variety of subjects in stone, including depictions of reclining women, mother-and-child groups, and masks.

毕业后，摩尔在1925年的头六个月里在法国旅行。当他参观巴黎的特罗卡迪罗博物馆时，他对玛雅人的雨灵雕塑印象深刻。那是一个斜倚着的男性形象，双膝并拢，头与身体成直角。摩尔对这座石雕着迷，他认为它具有其他石雕所没有的力量和独创性。他便开始在石头上雕刻各种主题，包括描绘卧着的妇女、母子组合和面具。

Moore's exceptional talent soon gained recognition, and in 1926 he started work as a sculpture instructor at the Royal College. In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

摩尔的非凡才华很快得到了认可，1926年他开始在皇家艺术学院担任雕塑讲师。1933年，他加入了一个名为“第一单元”的年轻艺术家团体。该团体的目标是说服英国公众接受现代艺术和建筑领域新兴国际运动的价值观。

Around this time, Moore moved away from the human figure to experiment with abstract shapes. In 1931, he held an exhibition at the Leicester Galleries in London. His work was enthusiastically welcomed by fellow sculptors, but the reviews in the press were extremely negative and turned Moore into a notorious figure. There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

在这段时间里，摩尔脱离了人物形象，开始尝试抽象的形状。1931年，他在伦敦的莱斯特美术馆举办了一次展览。他的作品受到雕塑家的热烈欢迎，但在新闻界的评论却极为消极，这使摩尔成为了一个臭名昭著的人物。有人要求他从皇家学院辞职，所以第二年合同到期后，他便离开去伦敦切尔西艺术学院开设了雕塑系。

Throughout the 1930s, Moore did not show any inclination to please the British public. He became interested in the paintings of the Spanish artist Pablo Picasso, whose work inspired him to distort the human body in a radical way. At times, he seemed to abandon the human figure altogether. The pages of his sketchbooks from this period show his ideas for abstract sculptures that bore little resemblance to the human form.

在整个20世纪30年代，摩尔并没有表现出任何取悦英国公众的意愿。他开始对西班牙画家毕加索的绘画产生了兴趣，毕加索的作品激发了他以一种极端的方式扭曲人体的灵感。有时，他几乎完全抛弃了人的形象。从他那段时间的速写本中可以看到他对抽象雕塑的想法，这些雕塑与人类形态几乎没有相似之处。

In 1940, during the Second World War, Moore stopped teaching at the Chelsea School and moved to a farmhouse about 20 miles north of London. A shortage of materials forced him to focus on drawing. He did numerous small sketches of Londoners, later turning these ideas into large coloured drawings in his studio. In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

1940年，在第二次世界大战期间，摩尔停止了在切尔西学校任教，并搬到伦敦以北约20英里的农舍。材料短缺迫使他专注于绘画。他绘制了许多伦敦人形象的小草图，后来在他的工作室中把这些想法画成了彩色的大幅画。1942年，他回到卡斯尔福德，为在那里工作的矿工制作了一系列草图。

In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family. The resulting work signifies a dramatic change in Moore's style, away from the experimentation of the 1930s towards a more natural and humanistic subject matter. He did dozens of studies in clay for the sculpture, and these were cast in bronze and issued in editions of seven to nine copies each. In this way, Moore's work became available to collectors all over the world. The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

1944年，伦敦附近的一个小镇哈洛为摩尔提供了一笔描绘家庭雕塑的佣金。由此产生的作品标志着摩尔风格的巨大变化，从20世纪30年代的试验，转向更加自然和人文主义的主题。他为雕塑进行了数十项关于粘土的研究，这些研究品都是用青铜铸造的，每次发行七到九份。这样，摩尔的作品就可以供全世界的收藏家使用。收入的增长使他能够开启更具野心的项目，并开始按他自己认为雕塑所需的规模来制作。

Critics who had begun to think that Moore had become less revolutionary were proven wrong by the appearance, in 1950, of the first of Moore's series of standing figures in bronze, with their harsh and angular pierced forms and distinct impression of menace. Moore also varied his subject matter in the 1950s with such works as Warrior with Shield and Falling Warrior. These were rare examples of Moore's use of the male figure and owe something to his visit to Greece in 1951, when he had the opportunity to study ancient works of art.

批评家们开始认为摩尔已不再具有革命性，但在1950年，出现了第一批摩尔人形青铜站立式雕像，其粗糙而棱角分明的穿孔形式以及独特的震慑感证明了这一观点是错误的。摩尔在20世纪50年代还通过《带盾的战士》和《堕落的战士》等作品改变了他的题材。这些是摩尔使用男性人物的罕见例子，这归功于1951年的那次访问希腊的经历，让他有机会研究古代艺术品。

In his final years, Moore created the Henry Moore Foundation to promote art appreciation and to display his work. Moore was the first modern English sculptor to achieve international critical acclaim and he is still regarded as one of the most important sculptors of the 20th century.

在他的晚年，摩尔创立了亨利·摩尔基金会，在促进艺术欣赏同时展示他的作品。摩尔是第一个获得国际赞誉的现代英国雕塑家，至今他被誉为20世纪最重要的雕塑家之一。