Comparing Maurice Sterne and Henry Moore's Sculptures
Analysis: Form, Texture, Space and Material
Sterne chose his material from a block of marble lifted from the Tiber River near his Italian summer home (NGA Sculpture Galleries www.nga.gov). He kept the woman's figure within the original size and shape of the marble so that observer can clearly see the original size and shape of the block used. The form is totally introverted, with head down, leg up, and one of the arms clasping the opposite shoulder. Each line and contour causes the observer's eye to return to the figure's center (NGA Sculpture Galleries www.nga.gov).
Moore, however, has created a sculpture with a much more seemingly open pose. While the figure is armless, and much more physically vulnerable than Sterne's figure, she also gazes straight out at the world, something that Sterne's figure does not do. Additionally, he used bronze, which is the most popular metal for casting sculptures and will swell to fill a mold ("Henry Moore" http://en.wikipedia.org/wiki/Henry_Moore). The bronze, in turn, creates a feeling of strength not felt with the marble -- lines and curves are sharply defined. The voids in the head where the eyes are meant to be create a being that is otherworldly and could even be divine. In a sense, the voids reflect back to the archaic gaze of ancient Greek art (Grohmann 230).
These two works of art were created 20 years apart, both by male artists striving to communicate through their art. For example, Sterne, an up and coming artist during the 1920s, was one of the contributing artists on the art editorial board of The Liberator, a magazine that promoted socialist issues, as well as modernist art and the development of an indigenous American art that depicted the proletariat (Marquardt 72). This influence can be seen in both his choice of s