Foundation, which continues to support education and promotion of the arts. His forms are usually abstractions of the human figure, typically depicting mother-and-child or lying figures. Reclining line was even considered as his signature. Moore's works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many translators liken the wavy form of his lying figures to the landscape and hills of his birthplace, Yorkshire. Moore made many preparatory sketches and drawings for each sculpture. Most of these sketchbooks have survived and provide insight into Moore's development. He placed great importance on drawing; even when he had arthritis, he still was able to draw. After the Second World War, Moore's bronzes took on their larger scale, which was particularly suited for public art commissions
creature to Martini's white lop-eared cat, however du Halde had omitted to mention in his compilation that the lop-eared cats were milk-white! While Boym's sumxu was valued as an avid mouser, Martini's lop-eared white cats were not interested in mice and were kept as lap- cats, another piece of information du Halde omitted in his compilation. Boym's illustration of the sumxu ignores its ears, while Martini described them as the defining feature of the white cats. Boym didn't liken the sumxu to cats and it is Kircher who made that comparison. The sumxu (probably the Yellow Throated Marten) was a creature of south China while the lop- eared cats were from Peking Province in the north. Buffon's leap was further misinterpreted by later authors such as French writer Anselme Gaëtan Desmarest who combined the name "sumxu" with the description of the lop-eared cat (its white colour being unknown to him)
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