亨利·摩尔 肖像

亨利·摩尔 作品：画廊视角下的 100 幅名作

更新于 October 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 492 件 亨利·摩尔 作品收录于我们的目录中

简而言之

在画廊看来，亨利·摩尔 最著名的作品是 Reclining Figure，其原作现收藏于 底特律 的 底特律艺术学院。 Falling Warrior (1957) 与 Sculptural Objects (Cramer 47) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，亨利·摩尔 共有 492 件作品，画廊为您精选了以下 100 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。

1898 – 1986, 卡斯爾福德 Modernism 藏品最多：泰特不列顛美术馆
Reclining Figure 由 亨利·摩尔1. Reclining Figure Falling Warrior (1957) 由 亨利·摩尔2. Falling Warrior 1957 Sculptural Objects (Cramer 47) 由 亨利·摩尔3. Sculptural Objects (Cramer 47)

画廊中 亨利·摩尔 的十大名画

1
Reclining Figure 由 亨利·摩尔

Reclining Figure

Wood · 底特律艺术学院, 底特律

Form and Materiality This elmwood carving presents an abstracted human form through sinuous lines and organic voids. The sculpture utilizes the wide grain of the wood to emphasize its undulating limbs and torso. Holes are integrated into the composition, allowing light and space to penetrate the solid mass. These openings create a relationship between the internal volume and the surrounding environment. Compositional Elements The figure features a looped head and…

这件原作背后的故事
2
Falling Warrior (1957) 由 亨利·摩尔

Falling Warrior

1957 · Bronze · 利物浦国家博物馆, 利物浦

In the quiet halls of Tate Britain, there exists a moment of profound stillness captured in bronze—a masterpiece that breathes with the weight of history and the lightness of spirit. Henry Moore’s “Falling Warrior,” created between 1956 and 1957, is far more than a mere sculpture; it is a meditation on the very nature of existence. As one approaches this monumental work, the eye is immediately drawn to the fluid,…

这件原作背后的故事
3
Sculptural Objects (Cramer 47) 由 亨利·摩尔

Sculptural Objects (Cramer 47)

Painting

In the vast landscape of twentieth-century modernism, few names resonate with as much tactile power and organic grace as Henry Moore. While the world often recognizes him through his monumental bronze figures that command public squares across the globe, his foray into the two-dimensional realm offers a uniquely intimate window into his creative psyche. Sculptural Objects (Cramer 47) stands as a breathtaking testament to this versatility, a painting that does…

这件原作背后的故事
4
Sheep 1 由 亨利·摩尔

Sheep 1

Oil

In the quiet, evocative lines of Sheep 1, we encounter a profound moment of connection between the viewer and the natural world. This striking black and white drawing by the legendary British master Henry Moore transcends simple animal portraiture to become an exploration of form, texture, and presence. The subject—a sheep with a thick, tactile wool coat—is rendered not merely as livestock, but as a sculptural entity. With its prominent…

这件原作背后的故事
5
A Miner at Work (1942) 由 亨利·摩尔

A Miner at Work

1942 · Sculpture · 帝国战争博物馆, 伦敦

In the heavy, shadowed atmosphere of 1942, amidst the profound uncertainties of the Second World War, Henry Moore captured a moment of quiet, monumental strength in "A Miner at Work." This piece serves as much more than a mere depiction of industrial labor; it is a profound meditation on the human spirit under pressure. The artwork presents a solitary figure, a miner seated at the coal face, rendered through Moore’s…

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7
Figure in a Shelter (1983) 由 亨利·摩尔

Figure in a Shelter

1983 · Sculpture Bronze · Kimbell Art Museum, 沃斯堡

Henry Moore (1898-1986), a titan of twentieth-century sculpture, remains an artist whose work continues to resonate with audiences worldwide. His unwavering fascination with the human form—particularly its reclining postures—coupled with his exploration of organic shapes derived from nature—like pebbles and seashells—established him as a pioneer of abstract expressionism while simultaneously grounding his art in palpable physicality.

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8
The Artist's Hand V (1979) 由 亨利·摩尔

The Artist's Hand V

1979 · Lithograph · 泰特不列顛美术馆, 伦敦

In the quiet intimacy of Henry Moore’s “The Artist's Hand V,” created in 1979, we are invited into a profound dialogue between the creator and his medium. This exquisite lithograph serves as more than a mere anatomical study; it is a soulful meditation on the very act of making. Through the outstretched gesture of Moore’s own hand, the artwork captures a moment of suspended animation, where the boundary between the…

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9
“ reclining Figure. Points” 由 亨利·摩尔

“ reclining Figure. Points”

青铜

探索有機抽象：亨利·摩爾的《 reclining Figure. Points 》 亨利·摩爾的雕塑作品《 reclining Figure. Points 》是二十世紀英國藝術的基石，體現了有機抽象和對人類形態與自然景觀聯繫的原則。 這件約於 1967 年至 1968 年創作的青銅傑作代表了摩爾獨特的雕塑風格——一種從具象寫實主義轉向純粹形狀和動作的有意識選擇。 它之所以擁有持久的吸引力，不僅僅是因為它的美學魅力，還因為它與人類理想和對靜止與運動之間的思考聯繫而深刻。 形態與紋理的融合 摩爾的技術以精湛的青銅鑄造技巧為特色，這種過程允許雕塑作品具有複雜的細節，同時保持整體莊嚴的存在感。 這件雕塑的表面呈現出驚人的紋理豐富度——通過控制氧化和拋光來實現的精心設計的粗糙效果，模仿了古代石頭雕塑上發現的風化斑塊。這種紋理不僅僅是裝飾性的；它服務於傳達雕塑作品的情感影響，邀請觀者與材料互動並考慮時間的流逝。 他們將粘土雕刻成模樣，然後將熔融的青銅倒入其中——這需要相當大的技巧和精確性。 有機抽象的語言 《 reclining Figure. Points 》堅定地確立了摩爾更廣泛的藝術願景——有機抽象。 他們拒絕傳統的描繪方法，尋求通過簡化的幾何形狀提取人類身體的精髓。 這件雕塑的軀幹是圓形的，反映了人類身體的輪廓，並參考了古希臘雕塑傳統。 同時，長長的肢體向外延伸，創造出與軀幹靜止形成對比的動態平衡。這些對比元素——曲線和直線——被安排以產生休息和冥想感。 頭部的輕微傾斜加劇了這種內省感，促使觀者思考存在和聯繫的主題。 歷史背景與哲學影響 摩爾的作品出現於二戰後的重大藝術實驗和思想熱潮時期。 他們受到超現實主義和禪宗的啟發，擁抱了空虛和連接的概念——這些理念深深地引起了當時人們的關注和渴望。 正如其他當代藝術家一樣，摩爾對探索原始形式和節奏感著迷，這反映了這個時代自然界固有的美與力量。 這件雕塑的簡約美學反映了這個時期藝術向簡化和抽象的趨勢，標誌著擺脫具象幻覺主義的轉變，以更直接地關注心理和靈性層面。 情感共鳴：靜止與運動之間 最終，《 reclining Figure. Points 》超越了純粹視覺吸引力；它傳達出深刻的情感深度，繼續吸引著當代觀眾。 這件雕塑的靜止——體現在身體的舒展姿勢中——與表面暗示的動作形成強烈對比。這種對比象徵著休息和動態之間的緊張關係，這反映了人類經驗本身。觀看這件作品會激發一種寧靜的冥想感，邀請觀者思考關於美麗和脆弱的問題——這些主題在不同文化和世代之間保持相關性。 這是一件雕塑設計不僅僅要被看到，還要被感受的作品，它促使人們反思人類條件的美麗與脆弱。

这件原作背后的故事
10
Hands I (1973) 由 亨利·摩尔

Hands I

1973 · Lithograph · 泰特不列顛美术馆, 伦敦

Henry Moore's 'Hands I,' created in 1973, is more than just a lithograph depicting two hands clasped together; it’s a profound meditation on connection, vulnerability, and the enduring human need for touch. Born in Castleford, Yorkshire, in 1898, Henry Spencer Moore rose to international prominence as a sculptor, yet his exploration of form extended into printmaking with remarkable sensitivity. This particular work, rendered in stark black and white, captures an…

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亨利·摩尔 的画作，排名第 11 至 100

11reclining figure; 開放姿勢 由 亨利·摩尔reclining figure; 開放姿勢 12Madonna and Child 由 亨利·摩尔Madonna and Child 13Seated Figure I Line Drawing 由 亨利·摩尔Seated Figure I Line Drawing 14Two Piece Sculpture No. 7; Pipe 由 亨利·摩尔Two Piece Sculpture No. 7; Pipe 15Animal Turned Head 由 亨利·摩尔Animal Turned Head 16女孩坐在桌子旁；和坐姿人物 由 亨利·摩尔女孩坐在桌子旁；和坐姿人物 17Elephant's Head 由 亨利·摩尔Elephant's Head 18Catspaws off the Land (1885) 由 亨利·摩尔Catspaws off the Land1885 · 泰特不列顛美术馆 19Portrait of Isabel de Cistué y Nieto (Retrato de Dª Isabel de Cistué y Nieto) 由 亨利·摩尔Portrait of Isabel de Cistué y Nieto (Retrato de Dª Isabel de Cistué y Nieto)Zaragoza Museum 20Family Group 由 亨利·摩尔Family Group芬兰国家美术馆 21Two Monumental Reclining Figures 由 亨利·摩尔Two Monumental Reclining Figures 22Hand Relief No. 2 由 亨利·摩尔Hand Relief No. 2 23Two Reclining Figures In Yellow And Green 由 亨利·摩尔Two Reclining Figures In Yellow And Green 24Setting Nets on the Coast of North Wales (1874) 由 亨利·摩尔Setting Nets on the Coast of North Wales1874 · 国家海事博物馆 25Hove-to for a Pilot (1893) 由 亨利·摩尔Hove-to for a Pilot1893 · 国家海事博物馆 26Small Mother and Child 由 亨利·摩尔Small Mother and Child 27Coalminers 由 亨利·摩尔Coalminers 28Reclining Figure 3 由 亨利·摩尔Reclining Figure 3 29Maquette for Standing Figure 由 亨利·摩尔Maquette for Standing Figure 30Four reclining figures 2 由 亨利·摩尔Four reclining figures 2 31Standing Nudes 由 亨利·摩尔Standing Nudes 32Ideas for Sculpture 4 由 亨利·摩尔Ideas for Sculpture 4 33Plate XIX, from Mother and Child 由 亨利·摩尔Plate XIX, from Mother and Child 34Mary doing Homework 由 亨利·摩尔Mary doing Homework 35Girl seated at desk IX 由 亨利·摩尔Girl seated at desk IX 36Eight plaster heads 由 亨利·摩尔Eight plaster heads 37Mother and Child 由 亨利·摩尔Mother and Child 38Seated Figure 由 亨利·摩尔Seated Figure 39Woman Seated on Fireside Stool 由 亨利·摩尔Woman Seated on Fireside Stool 40Vultures 由 亨利·摩尔Vultures 41Plate XVIII, from Mother and Child 由 亨利·摩尔Plate XVIII, from Mother and Child 42Falling Warrior 由 亨利·摩尔Falling Warrior 43Ideas for Sculpture; Three Reclining Figures 由 亨利·摩尔Ideas for Sculpture; Three Reclining Figures 44Plate XXVIII, from Mother and Child 由 亨利·摩尔Plate XXVIII, from Mother and Child 45Mother Playing With Child On Floor I 由 亨利·摩尔Mother Playing With Child On Floor I 46Three motives 由 亨利·摩尔Three motives 47Warrior's Head 由 亨利·摩尔Warrior's Head 48Family Group 5 由 亨利·摩尔Family Group 5 49Two Bulb Forms 由 亨利·摩尔Two Bulb Forms 50Girl Doing Homework 由 亨利·摩尔Girl Doing Homework 51Zebra 由 亨利·摩尔Zebra 52Sculptures - Dark Interior 由 亨利·摩尔Sculptures - Dark Interior 53Seated Figure 4 由 亨利·摩尔Seated Figure 4 54Reclining Figure Piranesi Background III 由 亨利·摩尔Reclining Figure Piranesi Background III 55Large Reclining Figure and Small Motifs 由 亨利·摩尔Large Reclining Figure and Small Motifs 56Reclining Mother and Child IV 由 亨利·摩尔Reclining Mother and Child IV 57Plate XI, from Mother and Child 由 亨利·摩尔Plate XI, from Mother and Child 58Figures in Street 由 亨利·摩尔Figures in Street 59Sleeping Figure 由 亨利·摩尔Sleeping Figure 60Seated Figure; Thin Head 由 亨利·摩尔Seated Figure; Thin Head 61Mother and Child; Uncrossed Feet 由 亨利·摩尔Mother and Child; Uncrossed Feet 62Head of Girl and reclining Figure 由 亨利·摩尔Head of Girl and reclining Figure 63Upright Motive. Maquette No. 3 由 亨利·摩尔Upright Motive. Maquette No. 3 64Six Reclining Figures 由 亨利·摩尔Six Reclining Figures 65Maquette for Reclining Figure No. 2 由 亨利·摩尔Maquette for Reclining Figure No. 2 66Maquette For Mother And Child; Hood 由 亨利·摩尔Maquette For Mother And Child; Hood 67Maquette for Mother and Child; Upright 由 亨利·摩尔Maquette for Mother and Child; Upright 68Two Piece Reclining Figure; Double Circle 由 亨利·摩尔Two Piece Reclining Figure; Double Circle 69Rocking Chair No. 2 由 亨利·摩尔Rocking Chair No. 2 70West Wind 由 亨利·摩尔West Wind 71Ideas for Sculpture in Settings 由 亨利·摩尔Ideas for Sculpture in Settings 72Seated Figures and Ideas for Sculpture 1 由 亨利·摩尔Seated Figures and Ideas for Sculpture 1 73King and Queen 由 亨利·摩尔King and Queen 74Sheep in Landscape 由 亨利·摩尔Sheep in Landscape 75Maquette for Reclining Figure 由 亨利·摩尔Maquette for Reclining Figure 76Upright Motive; Maquette No. 8 由 亨利·摩尔Upright Motive; Maquette No. 8 77Two seated Figures against a pillar 由 亨利·摩尔Two seated Figures against a pillar 78Idea for sculpture 由 亨利·摩尔Idea for sculpture 79Reclining Figure; Umbilicus 由 亨利·摩尔Reclining Figure; Umbilicus 80Rocking Chair No. 3 由 亨利·摩尔Rocking Chair No. 3 81Standing Figure No. 1 由 亨利·摩尔Standing Figure No. 1 82Divided Head 由 亨利·摩尔Divided Head 83Head; Lines 由 亨利·摩尔Head; Lines 84Reclining Mother And Child; Shell Skirt 由 亨利·摩尔Reclining Mother And Child; Shell Skirt 85Rocking Chairs 由 亨利·摩尔Rocking Chairs 86Bonnet Figure 由 亨利·摩尔Bonnet Figure 87Nude 由 亨利·摩尔Nude 88Reclining Figure No. 4 由 亨利·摩尔Reclining Figure No. 4 89Three Female Figures (Cramer 16) 由 亨利·摩尔Three Female Figures (Cramer 16) 90Three Standing Figures 由 亨利·摩尔Three Standing Figures 91Two Torsos 由 亨利·摩尔Two Torsos 92Madonna and Child 2 由 亨利·摩尔Madonna and Child 2 93Two Seated Women and Child 由 亨利·摩尔Two Seated Women and Child 94Helmet Head No. 3 由 亨利·摩尔Helmet Head No. 3 95Draped Seated Figure against Curved Wall 由 亨利·摩尔Draped Seated Figure against Curved Wall 96Mother and Child 2 由 亨利·摩尔Mother and Child 2 97Reclining Nude 由 亨利·摩尔Reclining Nude 98Woman Reading 由 亨利·摩尔Woman Reading 99Reclining Warrior 由 亨利·摩尔Reclining Warrior 100Maquette for Mother and Child with Apple 由 亨利·摩尔Maquette for Mother and Child with Apple

令 亨利·摩尔 驻足的创作主题

这些原作中反复出现的四个主题，各有一个最杰出的范例。

Scenes 22 件作品

Madonna and Child, 亨利·摩尔 #12 Madonna and Child Animal Turned Head, 亨利·摩尔 #15 Animal Turned Head Two Monumental Reclining Figures, 亨利·摩尔 #21 Two Monumental Reclining Figures Two Reclining Figures In Yellow And Green, 亨利·摩尔 #23 Two Reclining Figures In Yellow And Green

Children 15 件作品

Small Mother and Child, 亨利·摩尔 #26 Small Mother and Child Plate XIX, from Mother and Child, 亨利·摩尔 #33 Plate XIX, from Mother and Child Mother and Child, 亨利·摩尔 #37 Mother and Child Plate XVIII, from Mother and Child, 亨利·摩尔 #41 Plate XVIII, from Mother and Child

Mothers 15 件作品

Mother Playing With Child On Floor I, 亨利·摩尔 #45 Mother Playing With Child On Floor I Sculptures - Dark Interior, 亨利·摩尔 #52 Sculptures - Dark Interior Reclining Mother and Child IV, 亨利·摩尔 #56 Reclining Mother and Child IV Plate XI, from Mother and Child, 亨利·摩尔 #57 Plate XI, from Mother and Child

Body 9 件作品

Elephant's Head, 亨利·摩尔 #17 Elephant's Head Eight plaster heads, 亨利·摩尔 #36 Eight plaster heads Warrior's Head, 亨利·摩尔 #47 Warrior's Head Seated Figure; Thin Head, 亨利·摩尔 #60 Seated Figure; Thin Head

收藏有 亨利·摩尔 原作的博物馆

收藏了本页中大部分画作的 8 家博物馆。

博物馆 城市 亨利·摩尔 的作品 此列表中的画作
泰特不列顛美术馆, 伦敦泰特不列顛美术馆 伦敦 3 The Artist's Hand V, Hands I, Catspaws off the Land
国家海事博物馆, 伦敦国家海事博物馆 伦敦 2 Setting Nets on the Coast of North Wales, Hove-to for a Pilot
底特律艺术学院, 底特律底特律艺术学院 底特律 1 Reclining Figure
利物浦国家博物馆, 利物浦利物浦国家博物馆 利物浦 1 Falling Warrior
帝国战争博物馆, 伦敦帝国战争博物馆 伦敦 1 A Miner at Work
Kimbell Art Museum, 沃斯堡Kimbell Art Museum 沃斯堡 1 Figure in a Shelter
Zaragoza Museum, 萨拉戈萨Zaragoza Museum 萨拉戈萨 1 Portrait of Isabel de Cistué y Nieto (Retrato de Dª Isabel de Cistué y Nieto)
芬兰国家美术馆, 赫尔辛基芬兰国家美术馆 赫尔辛基 1 Family Group

亨利·摩尔，每十年一件代表作

各年代作品数量

选择一个年代，探索定义该时代的原创杰作。

亨利·摩尔 的画作：画廊解答

哪幅 亨利·摩尔 的画作最为闻名？揭晓答案

Reclining Figure，底特律艺术学院, 底特律。紧随其后的是 Falling Warrior (1957) 和 Sculptural Objects (Cramer 47)。

亨利·摩尔 最受欢迎的 10 幅画作是哪些？揭晓答案

Reclining Figure, Falling Warrior, Sculptural Objects (Cramer 47), Sheep 1, A Miner at Work, 坐姿人物与正方形台阶, Figure in a Shelter, The Artist's Hand V, “ reclining Figure. Points” 及 Hands I。上方排名显示了每件作品的创作年份及馆藏机构。

亨利·摩尔 创作了多少件作品？揭晓答案

我们的目录收录了 492 件 亨利·摩尔 的作品，创作年代从 1942 年至 1983 年。

亨利·摩尔 最著名的原作收藏于何处？揭晓答案

多见于 泰特不列顛美术馆 (伦敦), 国家海事博物馆 (伦敦) 及 底特律艺术学院 (底特律)。上方的博物馆列表列出了所有相关机构。

亨利·摩尔 是在什么时候创作出最著名的画作的？揭晓答案

在 1970s 期间：本页 100 件作品中有 2 件创作于该时期，其中包含 The Artist's Hand V 件作品。

亨利·摩尔 最早和最晚的代表作有哪些？揭晓答案

在本页面中，最早的作品创作于 A Miner at Work (1942)，最晚的创作于 Figure in a Shelter (1983)。

亨利·摩尔 最常创作的主题是什么？揭晓答案

Scenes (22), Children (15) 及 Mothers (15)，共计 100 件作品。

亨利·摩尔 最常用的创作媒介是什么？揭晓答案

Bronze，共计 2 件（本页共有 100 件作品）。

亨利·摩尔 属于哪种艺术流派？揭晓答案

根据本页面的原作，Modernism

泰特不列顛美术馆收藏了哪些亨利·摩尔的原作？揭晓答案

The Artist's Hand V, Hands I 及 Catspaws off the Land：泰特不列顛美术馆, 伦敦收藏了本页中 3 件作品。

亨利·摩尔：艺术家

Henry Moore (1898–1986): Sculptural Process and Public Identity

Henry Spencer Moore, born on July 30, 1898, in Castleford, Yorkshire, England, was an English visual artist who profoundly reshaped the landscape of modern British sculpture. His formative years amidst the rugged beauty of his birthplace instilled a lifelong fascination with organic forms—particularly those mirroring the undulating hills and valleys of Yorkshire—a fascination that would permeate his artistic vision throughout his prolific career. Raymond Spencer Moore (1848–1922), his father, was a self-taught man who championed education, steering young Henry away from the traditional path of a miner towards formal schooling; this early influence nurtured a belief in intellectual exploration and laid the groundwork for Moore’s artistic pursuits.

Early Artistic Exploration and Formal Education

Moore's innate talent for modeling clay and carving wood emerged early on, foreshadowing his future vocation. Recognizing his exceptional aptitude, Castleford Secondary School’s art teacher fostered his burgeoning creativity—a pivotal moment that propelled him toward a deeper engagement with artistic principles. He pursued further studies at Leeds School of Art before embarking on a transformative journey to the Royal College of Art in London, immersing himself in the study of classical sculpture alongside pioneering movements like Cubism. However, Moore wasn’t merely adopting stylistic trends; he synthesized these influences into something wholly original—a synthesis characterized by an unwavering commitment to exploring form and space through abstraction.

The Influence of Mexican Pre-Columbian Art

A pivotal encounter occurred during Moore's visit to Mexico in 1925, where he was captivated by the monumental sculptures of the Aztec civilization. The striking simplicity and geometric precision of these works liberated him from representational constraints—a liberation that fueled his experimentation with abstraction and solidified his fascination with exploring fundamental artistic concepts. This experience profoundly impacted his aesthetic sensibilities, inspiring him to embrace forms devoid of explicit detail while retaining a palpable sense of dynamism and visual interest.

Sculptural Style and Recurring Themes

Moore’s sculptural style evolved over time—characterized by rounded, organic shapes that echoed the natural world and often incorporating voids or openings—a stylistic hallmark that distinguished his oeuvre from conventional artistic practices. He consistently revisited two central themes: the reclining figure and the mother and child—motifs imbued with profound emotional depth and reflecting universal human experiences. These sculptures weren’t idealized representations but honest explorations of form, volume, and spatial relationships—demonstrating Moore's ability to translate sculptural principles into evocative visual narratives.

Public Commissions and Legacy

The Second World War spurred Moore’s artistic endeavors—particularly his documentation of Londoners sheltering from the Blitz in Underground stations—resulting in a series of poignant drawings that captured the resilience, fear, and communal spirit of the era. These *Shelter Drawings* stand as testament to Moore's capacity for translating sculptural vision into two-dimensional form—a feat that cemented his reputation as one of Britain’s foremost sculptors. Subsequently, he received numerous prestigious public commissions—allowing him to create monumental sculptures for educational institutions and civic spaces—reflecting his conviction that art should serve the broader community and fostering artistic innovation across generations. Henry Moore's enduring influence on twentieth-century art remains undeniable—a legacy characterized by a courageous challenge to conventional sculptural norms and an unwavering devotion to exploring form, space, and human connection.
  • Notable Sculptures: *Reclining Figure*, *Family Group*, *Shelter Drawings*
  • Influences: Classical Sculpture, Cubism, Mexican Pre-Columbian Art
  • Key Characteristics: Rounded Forms, Organic Shapes, Void Spaces

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