is unknown another money dispute, possibly?
Petty or Varga-level fame eluded Moore, but his pin-ups are among the bes= t of the late 1940s early ’50s, bridging the glamour girls-next-door of E= lvgren and the post-war, modern look of Chiriaka and others. Like Elvgren= , Moore created voluptuous dream women; but his strong design sense linke= d him to Chiriaka, as did his use of gouache to give his girls graduated = skin tones and a sensual, earthy quality. Moore’s women were wide-eyed wonders, usually blonde, curves spilling out= of bikini tops, full bruised lips promising passion. These provocative y= et All American temptresses preened for the viewer, very direct, seldom c= oy, promising the sexual revolution that was to come.
