The reputation of sculptor Henry Moore has never recovered from the dive it took as his bronzes became so ubiquitous in the 1960s/70s. Whether seen as civic ornaments or corporate trophies, they eventually became an international cliche - the default position of public art. Certainly it is hard to imagine that Moore was once thought avant-garde. But the Henry Moore Foundation beavers away to maintain him as a figurehead of British art, with Moore's home and studios at Perry Green in Hertfordshire as the focus (pictured below). The last decade has seen the completion there of HawkinsBrown's Sheep Field Barn Gallery (1999) and the restoration of Moore's house, Hoglands, which is open to the public by appointment, along with some substantial exhibitions. The latest looks at an unfamiliar side of Moore: his textiles.
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机译：雕塑家亨利·摩尔（Henry Moore）的声誉从未因潜水而恢复，因为他的青铜在1960年代/ 70年代变得无处不在。无论是被视为公民装饰品还是公司奖杯，它们最终都成为国际性的陈词滥调-公共艺术的默认位置。当然，很难想象摩尔曾经被认为是前卫的。但是亨利·摩尔基金会（Henry Moore Foundation）却不愿保留他作为英国艺术的领头羊，而摩尔的家和工作室则位于赫特福德郡的佩里·格林（Perry Green）（如下图所示）。在过去的十年中，HawkinsBrown的羊场谷仓画廊（1999）的竣工和Moore的房子Hoglands的修复得以完成，该房子通过预约向公众开放，并进行了一些大型展览。最新的作品是摩尔一个陌生的方面：他的纺织品。
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