Head of Prometheus

1950 · Print

Can I see it?

Not on view at present

Where is “Head of Prometheus” now? Collection: National Gallery of Art, Washington, D.C. Not on view at present. Checked September 29, 2026.

National Gallery of Art

Washington, D.C., United States

It belongs to the collection, but is not on display at present.

Checked: 11 days ago
In this state since: Aug 19, 2026
Source: The museum

On the map Museum page

Details

Accession number: 2006.125.11

What it shows

Mythology

In the catalog

Prints Lithograph Post-war art 20th century British

Sources

National Gallery of Art
Image: National Gallery of Art — © the artist or rights holder

In the life of Henry Moore

The whole life

1940–1986
A bomb in Hampstead: the move to Hoglands
In September 1940 bomb shrapnel hit the Moores’ Hampstead home and they left London for Hoglands, a farmhouse in the hamlet of Perry Green near Much Hadham in Hertfordshire. It remained Moore’s home and workshop for the rest of his life; though he grew wealthy he never felt the need to move to larger premises.
1948
The Venice Biennale prize
In 1948 Moore won the International Sculpture Prize at the Venice Biennale.
1950s
Assistants at Much Hadham
In the 1950s the scale of Moore’s sculptures grew so much that he took on a growing number of assistants at Much Hadham, among them Anthony Caro, Roland Piché, Maurice Lowe and Richard Wentworth.
1951
Turns down a knighthood
In 1951 Moore declined a knighthood, feeling that it would make him seem an establishment figure and might cut him off from fellow artists with similar aims. He later accepted the Order of the Companions of Honour (1955) and the Order of Merit (1963).
1951
“Reclining Figure: Festival” at the Festival of Britain
At the 1951 Festival of Britain Moore exhibited Reclining Figure: Festival, a plaster typical of his later manner: an abstract female figure intercut with voids.
1952
“Geometry of Fear” against Moore’s ideals
At the 1952 Venice Biennale eight new British sculptors showed their Geometry of Fear works as a direct contrast to Moore’s ideals of endurance and continuity; his large bronze Double Standing Figure stood outside the British pavilion, in sharp contrast to the rougher, more angular works inside.