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Large Two Forms (conceived 1966; cast 1969) is a bronze by the sculptor Henry Moore. There were a total of 4 bronze casts made from the polystyrene model. One is an iconic part of the Art Gallery of Ontario’s exterior, marking the presence of the Henry Moore Sculpture Centre, which houses over 900 sculptures and works on paper by the artist. There other three can be found outside the Neuberger Museum of Art, New York; the Royal Botanic Gardens, Kew, London; and the Federal Ministry for Economic Development and Cooperation, Bonn.

Large Two Forms was Moore’s first work to be done using a polystyrene model. The advantages of this were that it was lighter and easier to handle than plaster. Also, polystyrene is a less complex method, requiring only that the artist roughly shape the material in pieces and then pin these pieces together, avoiding the process of first constructing a wooden framework, covering it with scrim, and then moulding the plaster overtop. With polystyrene the texture is also easily manipulated into a smooth or rough finish. Large Two Forms was Moore’s largest sculpture to date, most likely enabled by the ease of the polystyrene technique. Once the mould was complete it was cut into sections and sent to West Berlin to be cast at the Noack Foundry.

Moore’s inspiration for Large Two Forms, and for many of his abstract sculptures, may have been derived from flint stones. Flint stones can be both solid, like Moore’s The Archer (Toronto City Hall, Nathan Phillips Square) and Warrior with Shield (Art Gallery of Ontario) pieces, or punctured by holes, such as Large Two Forms. His inspiration could also be from more organic materials, like sea-worn pebbles. Moore has this to say on the form of his sculptures: "I have always paid great attention to natural forms, such as bones, shells, and pebbles, etc. Sometimes for several years running I have been to the same part of the seashore – but each year a new shape of pebble has caught my eye, which the year before, though it was there in hundreds, I never saw… …Pebbles show Nature’s way of working stone. Some of the pebbles I pick up have holes right through them… …A piece of stone can have a hole through it and not be weakened – if the hole is of a studied size, shape and direction. On the principle of the arch, it can remain just as strong."

The organic nature of Large Two Forms gives the impression both of a human embrace and of protection, like the relationship between mother and child. However, this is not the only interpretation. The forms’ proximity – almost touching but still distant – gives off an electric feeling, like the sexual tension felt between two partners. Moore it seems has deliberately obscured the exact nature of the intimacy between his sculptures. He has written on this subject that, “Sculpture should always as first sight have some obscurities, and further meanings. People should want to go on looking and thinking; it should never tell all about itself immediately.” Large Two Forms has often been compared to an earlier work, Sheep Piece (1971–1972), which suggests both a ewe leaning protectively over her lamb, and the action of a ram mounting a ewe. However, there is nothing blatantly sexual in either of these two powerful sculptures — the dialogue of their relationship rests just below the surface.