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<\/a><\/p>\nHenry Moore. Draped Seated Woman, 1957-58<\/em><\/p>\n James Capper. Tread Pad pair 1, 2013<\/em><\/p>\n Antony Gormley. One & Other, 2000<\/em><\/p>\n Tom Price. Network, 2013<\/em><\/p>\n Magdalena Abakanowicz. Ten Seated Figures, 2010<\/em><\/p>\n Eduardo Paolozzi. Collage City, 1975<\/p>\n Maraluisa Todei. Night and Day, 2009<\/em><\/p>\n Barbara Hepworth. The Family of Man, 1970<\/em><\/p>\n Elisabeth Frink. Riace II, III and IV<\/em><\/p>\n Joan Miro. Tete de Femme, 1970<\/em><\/p>\n Henry Moore. Large Reclining Figure, 1984<\/em><\/p>\n For me YSP will be well worth more visits in the future. On a different day, with different light, the works will look different again. In addition, I know that there are some hidden pieces in the park \u2013 did I just see the feet of a\u00a0giant figure protruding from a bush?<\/p>\n I ended my visit with a look at the current major exhibition,\u00a0‘Henry Moore: Back to a Land’<\/a>.<\/strong>\u00a0<\/span>The show extends throughout the whole of the impressive Underground Gallery and features many mid-size sculptures in marble and fibreglass. Most fascinating of all to me though, were some small-scale maquettes and lithograph prints of Moore’s trip to Stonehenge in 1973. Around 40 images, drawn largely in the deepest charcoal, revealed both a obsessive fascination with recording the stones from every conceivable angle, and Moore’s brilliance as an artist. The prints, whilst impressive in their mark-making and detail up close, became even more so from a distance, where the contrast in areas of light and shade rendered the sheer bulk of the stones in a very immediate way.<\/p>\n Henry Moore. Stonehenge III, 1973. \u00a9Tate<\/em><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n