本篇文章共分 11 段，從摩爾的出生背景與早年教育與雕塑訓練，到一戰之後到二戰之後各階段的創作主題與作品特色一一臚列，最後以其晚年生活作終，帶領讀者快速認識這位具代表性的 20 世紀英國雕塑家。

本篇考題英文原文與對應之中文翻譯整理如下。練習作答解題時若有對語意不清楚之處，請仔細查閱對照，以提升閱讀理解能力。

Henry Moore 亨利‧摩爾 (1898-1986)

1. 亨利摩爾早年生活

   The British sculptor Henry Moore was a leading figure in the 20th-century art world

   Henry Moore was born in Castleford, a small town near Leeds in the north of England. He was the seventh child of Raymond Moore and his wife Mary Baker. He studied at Castleford Grammar School from 1909 to 1915, where his early interest in art was encouraged by his teacher Alice Gostick. After leaving school, Moore hoped to become a sculptor, but instead he complied with his father’s wish that he train as a schoolteacher. He had to abandon his training in 1917 when he was sent to France to fight in the First World War.

   英國雕塑家亨利．摩爾是 20 世紀藝術界的領導人物

   亨利．摩爾出生於英格蘭北部里茲附近的一個小鎮卡斯爾福德。他是雷蒙德．摩爾和他妻子瑪麗．貝克的第七個孩子。1909 年至 1915 年，他在卡斯爾福德小學就學，在那裡他對藝術的早期興趣受到了他的老師愛麗絲．戈斯蒂克的鼓勵。離開學校後，摩爾希望成為一名雕塑家，但他卻順從了父親的意願，接受學校教師的培訓。1917 年，他被派往法國參加第一次世界大戰，不得不放棄訓練。

2. 一戰之後學習雕塑

   After the war, Moore enrolled at the Leeds School of Art, where he studied for two years. In his first year, he spent most of his time drawing. Although he wanted to study sculpture, no teacher was appointed until his second year. At the end of that year, he passed the sculpture examination and was awarded a scholarship to the Royal College of Art in London. In September 1921, he moved to London and began three years of advanced study in sculpture.

   戰後，摩爾進入里茲藝術學院，在那裡學習了兩年。在第一年，他的大部分時間都在畫畫。雖然他想學習雕塑，但直到第二年才有老師被指派給他。那年年底，他通過了雕塑考試，獲得了倫敦皇家藝術學院的獎學金。1921 年 9 月，他搬到了倫敦，開始了為期三年的雕塑高級學習。

3. 古代雕塑的影響

   Alongside the instruction he received at the Royal College, Moore visited many of the London museums, particularly the British Museum, which had a wide-ranging collection of ancient sculpture. During these visits, he discovered the power and beauty of ancient Egyptian and African sculpture. As he became increasingly interested in these ‘primitive’ forms of art, he turned away from European sculptural traditions.

   在皇家學院接受指導的同時，摩爾還參觀了許多倫敦的博物館，特別是大英博物館，那裡有廣泛的古代雕塑收藏。在這些訪問中，他發現了古埃及和非洲雕塑的力量和美麗。隨著他對這些「原始」的藝術形式越來越感興趣，他轉身背對歐洲的雕塑傳統。

4. 造訪巴黎的影響

   After graduating, Moore spent the first six months of 1925 travelling in France. When he visited the Trocadero Museum in Paris, he was impressed by a cast of a Mayan* sculpture of the rain spirit. It was a male reclining figure with its knees drawn up together, and its head at a right angle to its body. Moore became fascinated with this stone sculpture, which he thought had a power and originality that no other stone sculpture possessed. He himself started carving a variety of subjects in stone, including depiction of reclining women, mother-and-child groups, and masks.

   畢業後，摩爾在 1925 年的前 6 個月裡在法國旅行。當他參觀巴黎的 Trocadero 博物館時，他對瑪雅人*的雨神雕塑的鑄件印象深刻。那是一個男性臥像，雙膝併攏，頭部與身體成直角。摩爾對這個石雕著迷了，他認為這個石雕具有其他石雕所不具備的力量和原創性。他自己也開始在石頭上雕刻各種題材，包括描繪躺著的女人、母子群和面具等。

5. 初獲名聲

   Moore’s exceptional talent soon gained recognition, and in 1926 he started work as a sculpture instructor at the Royal College. In 1933, he became a member of a group of young artists called Unit One. The aim of the group was to convince the English public of the merits of the emerging international movement in modern art and architecture.

   摩爾的傑出才能很快就得到了認可，1926 年他開始在皇家學院擔任雕塑導師的工作。1933 年，他成為一個名為 Unit One 的年輕藝術家團體的成員。該小組的目的是說服英國公眾相信現代藝術和建築領域新興國際運動的優點。

6. 嘗試抽象雕塑

   Around this time, Moore moved away from the human figure to experiment with abstract shapes. In 1931, he held an exhibition at the Leicester Galleries in London. His work was enthusiastically welcomed by fellow sculptors, but the reviews in the press were extremely negative and turned Moore into a notorious figure. There were calls for his resignation from the Royal College, and the following year, when his contract expired, he left to start a sculpture department at the Chelsea School of Art in London.

   大約在這個時候，摩爾遠離了人形，開始嘗試抽象的形狀。1931 年，他在倫敦的萊斯特畫廊舉辦了一次展覽。他的作品受到了其他雕塑家的熱烈歡迎，但媒體的評論卻極為負面，使摩爾成為一個臭名昭著的人物。有人要求他從皇家學院辭職，第二年，當他的合同到期時，他離開了，在倫敦的切爾西藝術學院開設了一個雕塑系。

7. 受畢卡索激勵

   Throughout the 1930s, Moore did not show any inclination to please the British public. He became interested in the paintings of the Spanish artist Pablo Picasso, whose work inspired him to distort the human body in a radical way. At times, he seemed to abandon the human figure altogether. The pages of his sketchbooks from this period show his ideas for abstract sculptures that bore little resemblance to the human form.

   在整個 30 年代，摩爾沒有表現出任何取悅英國公眾的傾向。他開始對西班牙藝術家巴勃羅．畢卡索的畫作感興趣，畢卡索的作品激勵他以一種激進的方式扭曲人體。有時，他似乎完全放棄了人的形象。這一時期他的素描本顯示了他對抽象雕塑的想法，這些雕塑與人的外形幾乎沒有任何相似之處。

8. 二戰期間的創作

   In 1940, during the Second World War, Moore stopped teaching at the Chelsea School and moved to a farmhouse about 20 miles north of London. A shortage of materials forced him to focus on drawing. He did numerous small sketches of Londoners, later turning these ideas into large coloured drawings in his studio. In 1942, he returned to Castleford to make a series of sketches of the miners who worked there.

   1940 年，在第二次世界大戰期間，摩爾停止了在切爾西學校的教學，搬到了倫敦以北約 20 英里處的一個農舍。材料的短缺迫使他專注於繪畫。他畫了許多倫敦人的小素描，後來在他的工作室裡把這些想法變成了大型彩色畫。1942 年，他回到卡斯爾福德，為在那裡工作的礦工畫了一系列的素描。

9. 青銅雕塑廣為收藏

   In 1944, Harlow, a town near London, offered Moore a commission for a sculpture depicting a family. The resulting work signifies a dramatic change in Moore’s style, away from the experimentation of the 1930s towards a more natural and humanistic subject matter. He did dozens of studies in clay for the sculpture, and these were cast in bronze and issued in editions of seven to nine copies each. In this way, Moore’s work became available to collectors all over the world. The boost to his income enabled him to take on ambitious projects and start working on the scale he felt his sculpture demanded.

   1944 年，倫敦附近的哈洛鎮委託摩爾創作一個描繪家庭的雕塑。由此產生的作品標誌著摩爾的風格發生了巨大的變化，從 1930 年代的實驗性作品轉向更自然和人本的主題。他為這個雕塑做了幾十個泥塑研究，這些泥塑被鑄成青銅，每個版本有七到九個。這樣一來，世界各地的收藏家都能買到摩爾的作品。收入的增加使他能夠接受雄心勃勃的計畫，並開始按照他認為的雕塑要求的規模進行創作。

10. 直立人物與男性主題

    Critics who had begun to think that Moore had become less revolutionary were proven wrong by the appearance, in 1950, of the first of Moore’s series of standing figures in bronze, with their harsh and angular pierced forms and distinct impression of menace. Moore also varied his subject matter in the 1950s with such works as Warrior with Shield and Falling Warrior. These were rare examples of Moore’s use of the male figure and owe something to his visit to Greece in 1951, when he had the opportunity to study ancient works of art.

    1950 年，摩爾的第一個青銅站立人物系列的出現，證明了那些開始認為摩爾已經不再具有革命精神的評論家是錯誤的，這些人物線條粗獷、棱角分明、並具有穿孔形式和明顯的威脅感。摩爾在 20 世紀 50 年代還通過《帶盾牌的戰士》和《陣亡的戰士》等作品改變了他的主題。這些作品是摩爾使用男性形象的罕見例子，此乃受到他於 1951 年造訪希臘的影響，當時他有機會研究古代藝術作品。

11. 晚年生活

    In his final years, Moore created the Henry Moore Foundation to promote art appreciation and to display his work. Moore was the first modern English sculptor to achieve international critical acclaim and he is still regarded as one of the most important sculptors of the 20th century.

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    *Mayan: belonging to an ancient civilisation that inhabited parts of current-day Mexico, Guatemala, Belize, El Salvador and Honduras.

    在他的晚年，摩爾創建了亨利．摩爾基金會，以促進藝術欣賞和展示他的作品。摩爾是第一個獲得國際好評的現代英國雕塑家，他仍然被認為是 20 世紀最重要的雕塑家之一。

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    *瑪雅人：屬於一個古老的文明，居住在今天的墨西哥、瓜地馬拉、貝里斯、薩爾瓦多和洪都拉斯的部分地區。