Across the Pond

I thought I'd start blogging by answering a common question: how did the Garden decide to do this show? Well, I first heard of the exhibition through a press release from Kew Gardens, which I forwarded to our director, Mary Pat Matheson, who was already a huge fan of Henry Moore. Her background in horticulture and passion for art appreciation naturally drew her toward an artist inspired by the landscape and natural forms. We literally picked up the phone that day and asked the Henry Moore Foundation for more details. It was our good fortune that the New York Botanical Garden had just recently inquired as well, giving us a potential cost-sharing partner.

We would need to see the exhibition, of course, which meant a trip across the pond. With the generous support of Delta Airlines, we flew to England in October 2007 for the opening of Moore at Kew. That's me (above, right) with the Henry Moore Foundation curator, Anita Feldman, at Kew Gardens. At 300 acres and 250 years old, Kew (right) is one of the oldest and largest public gardens in the world. Although located in the city, the great expanses of lawn punctuated by massive, ancient trees make it feel as though you're in the country. It was a glorious, yet very different experience from our young, intimate "urban oasis" here in Atlanta.

While in England, we also visited Perry Green, Moore's homestead about an hour north of London. He moved there with his wife, Irina, after World War II. The home and working studios dotted across the property, all remain exactly as Moore left them when he died in 1986.

A few things intrigue me about this photo of Moore's living room, particularly given Moore's financial success during his lifetime. He was fascinated by African artifacts but he never visited Africa. I always wondered why he didn't just pick up and go. Maybe that would have clouded his imagination with too much reality. His home was also very modestly sized and not at all showy. And finally, how cool is the mid-century modern eclectic vibe?!

There is stuff everywhere in Moore's studios, but it all appears very organized. Everything seems to have a purpose. There are natural objects, tools, and lots and lots of maquettes, or scale models. I got the sense that if not his hands, surely Moore's mind was constantly at work.

Seeing Large Reclining figure across a pasture...with sheep, mind you...was truly inspirational. I could have stared at this magnificence for ages. Even from a distance, you can sense the enormity in scale and impact. It was a very good trip, and we were very much smitten with Mr. Moore's sculpture by the end of it. And that, is where it all started...