_2.jpg)
Henry Moore remains arguably the most iconic British sculptor of the twentieth century, an artist whose mammoth bronzes have become ubiquitous fixtures of our urban public spaces. Yet, as this beautifully produced accompanying volume demonstrates, stripping these monumental works of their concrete backdrops and placing them within a living landscape is a celebratory, remarkable feat. Serving as a fitting companion to the landmark exhibition, the book re-examines how Moore’s organic human forms interact with the natural world, offering an insightful reassessment of his legacy.
While the outdoor displays grab the headlines, the book beautifully highlights the indoor elements of the exhibition, particularly the fine display of pictures, maquettes, and intricate wooden sculptures housed in Kew’s Shirley Sherwood Gallery. This multi-dimensional approach is anchored by eight compelling essays from a diverse panel of curators and horticulturists. Among the standouts, Laura Bruni explores the foundational relationship between Moore and nature, Lynn Parker dissects his fascination with botanical forms, and Richard Buggs provides a refreshing look at Moore through the lens of science.
Particularly fascinating is Kevin Martin’s contribution, which links Moore directly to Martin's arboricultural role. Martin, Kew’s Head of Tree Collections, draws a striking parallel between the artist’s process and the life cycle of trees, noting that Moore's "monumental forms often emerged from and returned to the land". This section elegantly frames Moore not just as a creator who used nature as a backdrop, but as someone whose vision was fundamentally rooted in the soil.
With contributions from authoritative voices like Sebastian Barassi, Head of Henry Moore Collections, and Bruni, the curator of his exhibitions, the book carries immense historical weight. Ultimately, while Moore’s work is usually best experienced at his historic studios and gardens in Hertfordshire or at the Yorkshire Sculpture Park, this volume proves that the intersection of art and horticulture can yield entirely new perspectives. It is a great read that will undoubtedly prompt renewed interest in those permanent collections, while sparking a broader conversation about the role of art in gardens.
One million people are expected to see the Kew exhibition, which runs until January 2027.
