If you read the interview I posted yesterday with George Lois, you might have taken note when he said, “You should just understand everything there is to understand.” A tall order perhaps, but certainly an admirable one, and not something to scoff at, coming from the likes of such an accomplished man. While I consider myself more interested in art than some, and I’ve been lucky enough to be exposed to some of the world’s most acclaimed classical and contemporary art – having visited some of the most famous galleries on Earth, I must admit, I know next to nothing about sculpture. So I was very happy to receive an advance copy of HENRY MOORE, edited by Chris Stephens, which will be out from Skira/Rizzoli next month. The impressive hardcover tome focuses on the world famous British modernist sculptor’s work from the ’20s through to the ’60s, along with quotes from living artists on the importance of his work. The scale of his work lent itself to being commissioned for public works of art, which helps to explain why his sculptures appear outside dozens of galleries and institutions around the world. There is one outside the National Gallery of Australia, which I have visited several times. These public works made Moore incredibly wealthy, but he chose to live frugally, and much of his income went to the Henry Moore Foundation, in order to promote and support the arts. The book coincides with a retrospective exhibition at the Tate Britain in London.