Henry Moore’s 1980 sculpture, ‘Draped Woman on Block Seat’, is an elegant synthesis of a lifetime’s study and development with its smooth flowing lines and iconic form.

The seated figure is one of Moore’s most recognisable human forms. It was his argument that there are three fundamental poses (sitting, standing, reclining) and within these he was able to make an endless number of variations. The seated figure enabled him to examine weight and balance, such as in the present work, but was also put to notable use with his iconic Madonna and Child and Family Groups, allowing for investigation of a shielded and protected space.

Moore believed that the aim of sculpture was to approach the inner essence of the form that he was working on, exposing the true nature of the subject. In the present work the expression of the chisel marks from the cast demonstrate Moore’s working process, providing an insight into his constant probing to find that unity of form. The contrast between the smooth knees and rough drapery and shoulders is striking evidence of the creative ebb and flow of his method.

Moore placed a high value on the importance of asymmetry in a sculpted object, to highlight its organic nature. This lack of balance is closely related to the essence of objects which he sought, but also had the visual effect of providing an almost infinite number of individual view points; a perfectly symmetrical work will, logically, result in half this number. The present work employs this variety of aspects to great effect.