Bill Brandt/Henry Moore review – a coruscating chronicle of British life 

From blitz victims to dust-coated miners and the rocks of Stonehenge, the affinities between German photographer and British sculptor are shown in works of sepulchral beauty

By: Hepworth Wakefield

Bill Brandt and Henry Moore met for the first time in 1942, when the German-born photographer was commissioned by Lilliput magazine to shoot the quintessentially British sculptor in his studio. The resulting portrait appeared in a spread devoted to the two artists’ shelter pictures – both had made extended series of sleeping Londoners huddled in platforms and tunnels on the underground during the blitz. Their meeting, and the shared subject matter that prompted it, is the conceptual starting point for this fascinating exhibition, which traces their parallel paths and overlapping interests.

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