Yet, notwithstanding these limitations, abstract artists argued that their sculptures were capable of articulating the greatest of themes. Many critics agreed. Hebert Read described Henry Moore’s work as a treatise on human kindness and cruelty in a world from which God had recently departed, while for Alberto Giacometti’s sculptures expressed the loneliness and desire of man alienated from his authentic self in industrial society.
Henry Moore - Two Forms (1934)
It may be easy to laugh at the grandiloquence of claims directed at objects which on occasion resemble giant earplugs or upturned lawnmowers. But, instead of accusing critics of reading too much into too little, we should allow abstract sculptures to demonstrate to us the range of thoughts and emotions that every kind of non-representational object can convey. The gift of the most talented sculptors has been to teach us that large ideas, for example, about intelligence or kindness, youth or serenity, can be communicated in chunks of wood and string, or in plaster and metal contraptions, as well as they can in words or in human or animal likenesses. The great abstract sculptures have succeeded in speaking to us, in their peculiar dissociated language, of the important themes of our lives.