The works of Henry Moore, so often placed outside government buildings and industrial corporations, have almost the air of official monuments. Following the war, he established an unrivalled reputation as the quasi-official voice of British sculpture. Yet his standing has in some ways obscured the complexity and variety of his themes, defusing the more disquieting aspects of his work. David Mitchinson, curator of the Henry Moore Foundation, describes his early career and diverse influences, his interest in natural forms, geology and Mexican Aztec sculpture. Julian Stallabrass analyzes, in particular, critical reaction to Moore after the war describing how his work became acceptable to a wide audience as his pieces "accorded well with a consensus view of the unity and harmony of the nation and the caring roles adopted by the state, family and individuals within it". Presenting the major sculptures for 60 years of his highly productive life as an artist, this study represents the whole spectrum of Moore's work from intimate figures to monumental pieces. Most of the photographs in this book were taken by the artist.