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encounters
Henry Moore
During these meetings with Henry Moore, he told me various stories about his life and work. Some of which I already knew from literature on him and his work. So without intending to do so, he actually verified those to be a fact. Some things though were new to me. He told me about his meeting, at the unveiling of the Rotterdam Bouwcentrum wall, with that 'chubby princess' - "what was her name again?" he asked Irina. I did not know then that years later I would get to know Queen Beatrix of The Netherlands personally.
a page from my book signed by Moore in Forte dei Marmi, Italy
But also he talked about his problems with the pebbles and flint stones he had collected at the ocean side all his life - which he just saved or used as sculpture, carving some. The salt in them, or whatever the cause was, was slowly disintegrating them. Having read about and very much appreciating the gardens and environments Isamu Noguchi had done, Moore's ideas about sculpture struck me as rather conservative. In his opinion it was very important that a sculptor incorporated his personal sculptural elements in his environmental work; in this sense, he found that Noguchi went beyond what was acceptable to him.
Looking back now I think that I didn't realize at that time that Moore had been around a long time already and had earned a right to his views. He had changed the course of art history himself and had introduced things which were revolutionary in his time. The environmental work I was doing at that time did, in fact, have sculptural elements which I shaped myself. In my first garden - DSW - the transparent fountain forms were indeed sculpted by me. He appreciated that and encouraged me to continue in this direction. It was probably due to Henry Moore's incentive that I made the bronze element the way I did in my Walburg project a year later."
Having read about and very much appreciating the gardens and environments Isamu Noguchi had done, Moore's ideas about sculpture struck me as rather conservative. In his opinion it was very important that a sculptor incorporated his personal sculptural elements in his environmental work; in this sense, he found that Noguchi went beyond what was acceptable to him. Looking back now I think that I didn't realize at that time that Moore had been around a long time already and had earned a right to his views. He had changed the course of art history himself and had introduced things which were revolutionary in his time. The environmental work I was doing at that time did, in fact, have sculptural elements which I shaped myself. In my first garden - DSW - the transparent fountain forms were indeed sculpted by me. He appreciated that and encouraged me to continue in this direction. It was probably due to Henry Moore's incentive that I implemented the bronze element the way I did in my Walburg project a year later."
Lucien den Arend
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Queen Beatrix
Henry
Moore Italy 1970
Henry Moore Italy 1971
Henry Moore Italy 3
Henry Moore
England
Jorma Hautala
- Kari Huhtamo - Matti Peltokangas
Christo
and Jeanne Claude
Truus Schröder-Schräder
John (Jack) Wesley and Hannah Green
Donald Judd
Gerard Fieret
3D anaglyph photographs of my sculpture
works©author: Lucien
den Arend
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