![\"HENRY](\"https:\/\/www.romeing.it\/florence\/wp-content\/uploads\/2025\/11\/henry-moore-museo-novecento-819x1024.jpg\")
The exhibition is an opportunity to deepen the conceptual and formal genesis of Moore\u2019s work through the analysis of some of the recurring iconographic themes: natural forms such as rocks, pebbles, roots, and trunks, but also animals, skulls, and the hands of the artist become the focus of the exhibition<\/strong>. Taking its cue from a reinterpretation of some central themes in Moore\u2019s production, the exhibition intends to offer an in-depth study on the value of drawing in his almost daily practice and on its relationship with sculpture. According to Moore: \u201cThe observation of nature is decisive in the life of an artist. Thanks to nature, the sculptor too, enriches his knowledge of form, finds nutriment for inspiration, and maintains a freshness of vision, avoiding becoming crystallized in the repetition of formulas\u201d.<\/em><\/p>\n\n\n\n In the ground floor room of the Museo Novecento, an elephant skull from the artist\u2019s studio will be exceptionally exhibited, on which Moore has applied himself constantly over the years creating a series of engravings, which underline the analysis of shapes from points of varied views and with multiple formal solutions.<\/p>\n\n\n\n Henry Moore. The sculptor\u2019s drawing<\/strong><\/em> emphasizes the graphic production of this protagonist of contemporary sculpture, who has assimilated the lesson of primitivist and extra-European sculpture, that of the historical avant-gardes and above all the great Italian tradition of Renaissance masters active in Florence and Tuscany. The main purpose of my drawings is to help me sculpt. Drawing is in fact a means to generate ideas for the sculpture, to pull out from myself the initial idea, to organise the ideas and attempt to develop them \u2026 I use drawing also as a method of study and observation of nature (nude studies, studies of shells, bones, and other things). I also happen at times to draw for the pure pleasure of doing so<\/em><\/p>Moore said.<\/cite><\/blockquote>\n\n\n\n <\/p>\n\n\n\n![\"HENRY](\"https:\/\/www.romeing.it\/florence\/wp-content\/uploads\/2025\/11\/web__06__Hands-section_HMF-82314_SM.jpg\")
The exhibition, significant for the presence of works and the unprecedented nature of the choice, the result of a scientific preparation that has engaged the museum in the last two years, therefore strengthens Moore\u2019s bond with the territory, which still houses works by the artist \u2013 for example, the Warrior in the Cloister of Santa Croce and the monumental marble sculpture in nearby Prato \u2013 and which hosted, in addition to the important exhibition of 1972, an exhibition in the Sala d\u2019Arme of Palazzo Vecchio in 1987. It should be remembered that Florence has represented a salient and perhaps crucial moment in the formation of Moore\u2019s artistic genius, who arrived in the city for the first time in 1925, during his first study trip to Italy, thanks to a scholarship made available by the Royal College of Art. That was the occasion to admire and observe the creations of the great masters of the past, including Giotto, Donatello, Masaccio and above all Michelangelo.<\/p>\n\n\n\nHENRY MOORE IN TUSCANY<\/h3>\n\n\n\n
![\"HENRY-MOORE-IN-TUSCANY-museo-novecento\"](\"https:\/\/www.romeing.it\/florence\/wp-content\/uploads\/2025\/11\/HENRY-MOORE-IN-TUSCANY-museo-novecento-1024x820.jpg\")