15 February – 31 August 2014
Comparing the work of two giants of modern sculpture, Auguste Rodin and Henry Moore.
Moore was fascinated with Rodin’s output and working methods and held the artist to be at the root of the flourishing sculpture scene in 20th-century Britain. The French master’s work adds a bold new genitive dimension to the Capability Brown landscape at Compton Verney, which is also exhibiting Moore’s reclining nudes, towering phallic forms and endless explorations of nurture and encasement.
Major Rodin loans include Adam (1881), the third maquette for The Gates of Hell (c. 1881–82) and Walking Man, Large Torso (1906), of which Moore owned a cast. For those interested in Moore’s relationship with the legacy of Rodin in his own words, the exhibition catalogue will reproduce the transcript of the sculptor’s revealing 1970 interview with Alan Bowness.
Rodin's The Burghers of Calais, which was bought by the Art Fund in 1913 and usually sits in the garden next to the Houses of Parliament, will also appear in the show.