Page 2, 22nd September 1950

22nd September 1950
Page 2
Page 2, 22nd September 1950 — MOORE'S MADONNA Sul, -After reading the correspondence relating t o Miss
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MOORE'S MADONNA Sul, -After reading the correspondence relating t o Miss

Conlay's article on Henry Moore's Madonna last week I feel I must point out the irrelevance of " beauty" and "ugliness " in great art, even great secular art. No art has ever lasted because of its beauty alone. and this is never the sole impulse of the creator. Art artist has something to state, and the more important is this statement, the greater is impression conveyed and the greater the art. •

Henry Moore was not concerned with producing beauty; his is a compelling structure. at once disciplined and rigid. yet relaxed. and above all, aloof. One is arrested before it and is left contemplating its enigma; it is not assimilated and dismissed as are intiumerable other memorials.

Its attraction, in common with iconographic art previously cited. lies in the fact that the solution of the enigma is entirely personal-the viewer himself creates his own interpretation in cooperation with the artist, forming a much stronger link than any self-contained literary expression could ever have forged.

BRIAN PENNEY.

Royal Air Force, Jurby, Isle of M an.




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