Wall Relief No. 1 by Henry Moore

Henry Moore, the renowned British sculptor, left an indelible mark on the art world with his iconic works. Among them, “Wall Relief No. 1” stands out. It’s a testament to Moore’s innovative spirit and his ability to transcend traditional artistic boundaries. This relief sculpture, created in 1955, was commissioned by the Dutch Brick Industry Association for installation on the north side of the new wing of the Bouwcentrum in Rotterdam, adjacent to the new entrance on Weena Street. Weena is close to Rotterdam’s Central Station. This article explores the intriguing history, significance, and artistic vision behind “Wall Relief No. 1.”

A Surprising Departure

The decision to commission Henry Moore, celebrated for his bronze sculptures, to create a brick sculpture may seem unusual. However, it was architect Joost Boks who conceived the idea of designing this wall as a sculptural brick relief. The Dutch Brick Industry Association insisted that the artwork be crafted from the same bricks used in their construction projects. Those bricks were smaller than those Moore was accustomed to working with in England. Thus, Moore’s commission for this monumental brick relief marked a departure from his usual materials and challenged his artistic ingenuity.

Moore’s Dutch Exploration

Before accepting the commission, Moore conducted research in the Netherlands to explore the possibilities of brick and the state of Dutch brickwork. He discovered that Dutch masonry exhibited exceptional craftsmanship and offered unique opportunities for sculptural manipulation due to the smaller brick size. Based on his research, Moore created a plaster model of his design, which was analyzed by the client and architect.

Working in Harmony

Joost Boks, the architect, developed construction drawings for the wall, including reinforcements to support the projecting human figures. Two experienced masons, who had practiced their craft in the 1920s and 1930s, were hired to build the wall according to Moore’s plaster model and Boks’ plans. Progress photos were sent to Moore in England every week, and he provided feedback and annotations. When Moore visited the construction site, he was pleasantly surprised to find that the masons and the architect had faithfully executed his design, rendering further sculptural alterations unnecessary.

The Composition of “Wall Relief No. 1”

The artwork consists of 16,000 hand-formed bricks arranged in a pattern of geometric and biomorphic shapes. Along the lower section, architectural forms resembling beams and blocks are adorned with circular perforations, mirroring a similar pattern along the upper part of the wall. On the left and right sides, vertical ridges intersect with horizontal ones, creating a textured effect. In the center, six vaguely zoomorphic and anthropomorphic figures emerge from the surface. Three larger ones are flanked by two smaller ones and one more prominent figure at the center.