The Sculptor in Modern Society – Henry Moore



[…] Sculpture, even more than painting (which generally speaking, is restricted to interiors) is a public art, and for that reason I am at once involved in those problems which we have met here to discuss – the relation of the artist to society – more particularly, the relation of the artist to the particular form of society which we have at this moment of history.

There have been periods – periods which we would like to regard as ideal prototypes of society – in which that relationship was simple. Society had a unified structure, whether communal or hierarchic, and the artist was a member of that society with a definite place and a definite function. There was a universal faith, and an accepted interplay of authority and function which left the artist with a defined task, and a secure position. Unfortunately our problems are not simplified in that way. We have a society which is fragmented, authority which resides in no certain place, and our function as artists is what we make it by our individual efforts. We live in a transitional age, between one economic structure of society which is in dissolution and another economic order of society which has not yet taken definite shape. As artists we do not know who is our master; we are individuals seeking patronage, sometimes from another individual, sometimes from an organization of individuals – a public corporation, a museum, an educational authority – sometimes from the State itself. This very diversity of patronage requires, on the part of the modern artist, an adaptability or agility { hat was not required of the artist in a unified society.

But that adaptability is always in a vertical direction, always within a particular craft. One of the features of our industrialized society is specialization – the division of labour. [. . .] We know now that there are specific kinds of sensibility, belonging to distinct psychological types, and for that reason alone a certain degree of specialisation in the arts is desirable.

The specialization, due to psychological factors in the individual artist, may conflict with the particular economic structure of society in which the artist finds himself. Paintings and sculpture, for example, might be regarded as unnecessary trimmings in a society committed by economic necessity to an extreme utilitarian form of architecture. The artist might then have to divert his energies to other forms of production – to industrial design, for example. No doubt the result would be the spiritual impoverishment of the society reduced to such extremes, but I only mention this possibility to show the dependence of art on social and economic factors. The artist should realize how much he is involved in the changing social structure, and how necessary it is to adapt himself to that changing structure.

From this some might argue that the artist should have a conscious and positive political attitude. Obviously some forms of society are more favourable to art than others, and it would be argued the artist should on that account take up a position on the political front. I would be more certain of his duty in this respect if we could be scientifically certain in our political analysis, but it must be obvious to the most superficial observer, that the relation between art and society has always been a very subtle one, and never of the kind that could be consciously planned. One can generalize about the significant relationship between art and society at particular points in history, but beyond describing such relationships in vague terms such as ‘organic’ and ‘integrated’, one cannot get near to the secret. We know that the Industrial Revolution has had a detrimental effect on the arts, but we cannot tell what further revolution or counter-revolution would be required to restore the health of the arts. We may have our beliefs, and we may even be actively political on the strength of those beliefs; but meanwhile we have to work, and to work within the contemporary social structure.

That social structure varies from country to country, but I think that broadly speaking we who are participating in this conference are faced with mixed or transitional economies. In my own country, at any rate, the artist has to satisfy two or three very different types of patron. In the first place there is the private patron, the connoisseur or amateur of the arts, who buys a painting or a piece of sculpture to indulge his own taste, to give himself a private and exclusive pleasure. In addition there are now various types of public patron, the museums, or art galleries that buy in the name of the people: the people of a particular town, or the people of the county as a whole. Quite different from such patrons are those architects, town-planners, organizations of various sorts who buy either from a sense of public duty, or to satisfy some sense of corporate pride.

This diversity of patronage must be matched by a certain flexibility in the artist. [. . .] It is usually assumed that if sufficient commissions were forthcoming from public authorities, all would be well with the arts. It is an assumption that takes no account of the fact that the tradition of modern art is an individualistic one, a craft tradition passing from artist to artist. We have only to look eastwards, beyond the Iron Curtain, to see that State patronage on an authoritarian basis requires quite a different tradition – a tradition in which the State that pays the artist calls the tune, in other words, determines the style. I am not making any judgment of the relative merits of the two traditions, but I think it should be made quite clear that the transition from private patronage to public patronage would mean a radical reorganisation of the ideals and practice of art. We have to choose between a tradition which allows the artist to develop his own world of formal inventions, to express his own vision and sense of reality; and one which requires the artist to conform to an orthodoxy, to express a doctrinaire interpretation of reality. It may be that in return for his loss of freedom the artist will be offered economic security; it may be that with such security he will no longer feel the need to express a personal philosophy, and that a common philosophy will still allow a sufficient degree of flexibility in interpretation to satisfy the artist’s aesthetic sensibility. I think most artists, however, would prefer to feel their way towards a solution of this problem, and not have a solution imposed on them by dictation. The evolution of art cannot be forced, nor can it be retarded by an obstinate adherence to outworn conventions.

We already have considerable experience in the State patronage of art, even in countries which are still predominantly individualistic in their economy. [. . . ] But can we rely on such courage and initiative in public bodies in a democratic society? Isn’t there a primary duty in such a society to make sure that the people have the interest and eagerness that demand the best art just as surely as they demand the best education or the best housing? It is a problem beyond the scope of this address, but not beyond the scope of Unesco – the renewal of the sources of artistic inspiration among the people at large.

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… nothing is such a symptom of our disunity, of our cultural fragmentation, as this divorce of the arts. The specialization characteristic of the modern artist seems to have as its counterpart the atomization of the arts. If a unity could be achieved, say in the building of a new town, and planners, architects, sculptors, painters and all other types of artist could work together from the beginning, that unity, one feels, would nevertheless be artificial and lifeless because it would have been consciously imposed on a group of individuals, and not spontaneously generated by a way of life. That is perhaps the illusion underlying all our plans for the diffusion of . One can feed to the masses, but that does not mean that they will absorb it. In the acquisition of there must always be an element of discovery, of self-help; otherwise remains a foreign element, something outside the desires and necessities of everyday life. For these reasons I do not think we should despise the private collector and the dealer who serves him; their attitude to the work of art, though *t may include in the one case an element of possessiveness or even selfishness and in the other case an element of profit-making, of parasitism, nevertheless such people circulate works of art in natural channels, and in the early stages of an artist’s career they are the only people who are willing to take a risk, to back a young artist with their personal judgment and faith. The State patronage of art is rarely given to young and unknown artists, and I cannot conceive any scheme, outside the complete communization of the art profession such as exists *n Russia, which will support the artist in his early career. The present system in Western Europe is a very arbitrary system, and entails much suffering and injustice. The artist has often to support himself for years by extra artistic work, usually by teaching, but this, it seems to me is preferable to a complete subordination of the artist to some central authority, which might dictate his style and otherwise interfere with his creative freedom. It is not merely a question of freedom. With the vast extension of means of communication, the growth of internationalism, the intense flare of publicity which falls on the artist once he has reached any degree of renown, he is in danger of losing a still more precious possession – his privacy. The creative process is in some sense a secret process. The conception and experimental elaboration of a work of art is a very personal activity, and to suppose that it can be organized and collectivized like any form of industrial or agricultural production, is to misunderstand the very nature of art. The artist must work in contact with society, but that contact must be an intimate one. […]

I believe that much can be done, by Unesco and by organizations like the Arts Council in my own country, to provide the external conditions which favour the emergence of art. I have said – and it is the fundamental truth to which we must always return – that (as the word implies) is an organic process. There is no such thing as a synthetic , or if there is, it is a false and impermanent . Nevertheless, on the basis of our knowledge of the history of art, on the basis of our understanding of the psychology of the artist, we know that there are certain social conditions that favour the growth and flourishing of art, others that destroy or inhibit that growth. An organization like Unesco, by investigating these laws of cultural development, might do much to encourage the organic vitality of the arts, but I would end by repeating that by far the best service it can render to the arts is to guarantee the freedom and independence of the artist.

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