Henry Moore, the return 50 years later: still magic in Florence

September 17, 2022 – 07:59 am

Family Group in the churchyard of the basilica of San Miniato. From 22 to 3 October an exhibition of photographs collected from around the world by those who, in 1972, saw the great exhibition of the English master at the Fort

from Loredana Ficicchia

In the footsteps of the illustrious father, Mary Moore flawless in her ash blonde bun, is moved in front of the geometric facade of San Miniato where the sculptural group Family group was exhibited yesterday in the churchyard of the basilica of the English master. An idealized family unit, initially conceived for a school, actually dedicated to her in the year of her birth, 1946. A second Large interior form sculpture gives magic to Piazza della Signorito. A gift to the city (until the end of March 2023), fifty years after the famous Henry Moore exhibition at Forte Belvedere, whose echo is always a caress for the memory of those who have had the privilege of visiting it (350 thousand). To the others, the Sala d’Arme of Palazzo Vecchio offers a series of images and memories, from 22 September to 3 October, with the exhibition Back to Moore Forte Belvedere 1972, set up in collaboration with Biaf, the International Biennial of Antiques. The exhibition puts in line private shots, therefore unpublished, collected in recent years by the Museo Novecento through a contest launched on the media and on social networks. There are married couples posing in the magnificence of Fort Belvedere in front of Moore’s works or children rolling on the grass. And then excellent personalities of the time: President Giovanni Leone like Margareth of England. A historical event documented by amateurs by a hundred new photographers who together have created a surprising album. A triple project, the one presented yesterday, conceived by Sergio Risaliti, director of the Museo Novecento, made possible thanks to the renewed collaboration with the Henry Moore Foundation.


We have the privilege of approaching that admirable Romanesque Porta Coeli that San Miniato al Monte, a work by Henry Moore – comments Father Bernardo, abbot of the Abbey -, a gift and an additional opportunity to reflect oneself in the values ​​of the family, a symbol of peace, justice and hope. Henry Moore in Florence, an exhibition project by Risaliti himself with Sebastiano Barassi, director of the Foundation dedicated to the work of Henry Moore. In the two bronze works, Family Group and Large interior form, there are two subjects dear to the English master, the human figure and the exercise of form between full and empty. If the first sculpture (begun in 1934 at the request of the architect Walter Gropius but completed only in 1949), Sergio Risaliti points out, evokes the softness of the embrace, the second speaks an abstract language recalling those serpentine forms, or screwed bodies , which were so dear to Michelangelo and Giambologna. 1954 when Moore shifts his art to the contrast between full and empty, fascinated by organic three-dimensionality but always faithful to Renaissance influences. This work triggers a sophisticated dialogue with the great monuments in the square – explains Sergio Risaliti – especially with Giambologna’s Rape of the Sabines. In short, the dialogue between the artistic heritage of the city and the giants of the contemporary who landed with their art in Piazza della Signoria continues, such as Jeff Koons, Jan Fabre, Urs Fisher and Francesco Vezzoli. A dialogue in which the proud city still intends to invest, said the mayor Dario Nardella, whose credit goes to the art of Henry Moore from which it all started.

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17 September 2022 | 07:59

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