Sculpture Quotes

Quotes tagged as "sculpture" Showing 1-30 of 53
Henri Matisse
“You must forget all your theories, all your ideas before the subject. What part of these is really your own will be expressed in your expression of the emotion awakened in you by the subject.”
Henri Matisse

Michelangelo Buonarroti
“The greatest artist does not have any concept
Which a single piece of marble does not itself contain
Within its excess, though only
A hand that obeys the intellect can discover it.”
Michelangelo Buonarroti, I Sonetti Di Michelangelo: The 78 Sonnets of Michelangelo with Verse Translation

Nathaniel Hawthorne
“Moonlight is sculpture; sunlight is painting.”
Nathaniel Hawthorne

Criss Jami
“Authors can write stories without people assuming that they are autobiographies, but songwriters and poets are often considered to be the characters in their works. I like Michelangelo's vision, 'I saw the angel in the marble and carved until I set him free.”
Criss Jami, Salomé: In Every Inch In Every Mile

Louis L'Amour
“The key to understanding any people is in its art: its writing, painting, sculpture.”
Louis L'Amour, Education of a Wandering Man

Munia Khan
“Stars are always dancing. Sometimes they dance twinkling away with the rhythm of your joyful heart and sometimes they dance without movement to embrace your heartache as if frozen sculptures of open-armed sadness.”
Munia Khan

“Art-making is not about telling the truth but making the truth felt”
Christian Boltanski

Karen Blixen
“Dr Sass…maintained that in paradise, until the time of the fall, the whole world was flat, the back-curtain of the Lord, and that it was the devil who invented a third dimension. Thus are the words ‘straight’, ‘square’, and ‘flat’ the words of noblemen, but the apple was an orb, and the sin of our first parents, the attempt at getting around God. I myself much prefer the art of painting to sculpture”
Isak Dinesen

Donald Hall
“As Henry Moore carved
or modelled his sculpture every day,
he strove to surpass Donatello

4. and failed, but woke the next morning
elated for another try.”
Donald Hall

Hilary Mantel
“And looking down on them, the other Londoners, those monsters who live in the air, the city's uncounted population of stone men and women and beasts, and things that are neither human nor beasts, fanged rabbits and flying hares, four-legged birds and pinioned snakes, imps with bulging eyes and duck's bills, men who are wreathed in leaves or have the heads of goats or rams; creatures with knotted coils and leather wings, with hairy ears and cloven feet, horned and roaring, feathered and scaled, some laughing, some singing, some pulling back their lips to show their teeth; lions and friars, donkeys and geese, devils with children crammed into their maws, all chewed up except for their helpless paddling feet; limestone or leaden, metalled or marbled, shrieking and sniggering above the populace, hooting and gurning and dry-heaving from buttresses, walls and roofs.”
Hilary Mantel, Wolf Hall

Caryll Houselander
“... those who seek the lost Lord will find traces of His being and beauty in all that men have made, from music and poetry and sculpture to the gingerbread men in the pâtisseries, from the final calculation of the pure mathematician to the first delighted chalk drawing of a small child.”
Caryll Houselander, The Reed of God

“If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.”
Richard Serra

Anna Funder
“We don't catch hold of an idea, rather the idea catches hold of us and enslaves us and whips us into the arena so that we, forced to be gladiators, fight for it.”
Anna Funder, Stasiland: Stories from Behind the Berlin Wall

Hazel Manuel
“We must discard the superfluous, reveal what is unseen. The living flesh at the core of the stone... expose it...”
Hazel Manuel, Undressing Stone

Irving Stone
“One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.”
Irving Stone, The Agony and the Ecstasy

“Art depicts life and life depicts art.”
Bert McCoy

“Stones dream of shapes they might become. The sculptor has but to listen.”
Thurin-Jon (as quoted)

“Under this spell we were really startled by being suddenly confronted by a priestly form. A second glance revealed, however, only a wax figure in priestly robes -- Ignatius, the patron saint of the church; but it was so lifelike that every one of us had started back at the first glance. (pg. 151, Antigua ruins, the Capuchin monks monastery,)”
Helen Josephine Sanborn

Kurt Vonnegut Jr.
“The statue was of a nude woman playing a slide trombone. It was entitles, enigmatically, Evelyn and Her Magic Violin.”
Kurt Vonnegut Jr., The Sirens of Titan

L.A. Fiore
“Logan's donating a sculpture to the town. He didn't want to make a big deal about it--wanted it on the down low, so they're doing a small unveiling."

"Down low, Gwen?"

"I know, aren't I cool?"

We all turn back to the scene across the street. I ask, "What do you think it is?"

"I hope it's a self-portrait, a nude one." Josh sighs.

Gwen and I eye him, but he has the faraway dreamy look about him. Clearly he's envisioning Logan naked. I lean over and whisper, "Whatever you're thinking, it's better."

His eyes narrow at me. "You are a hateful woman.”
L.A. Fiore, Waiting for the One

August Wilhelm Schlegel
“The tragic style of Aeschylus (I use the word "style" in the sense it receives in sculpture, and not in the exclusive signification of the manner of writing,) is grand, severe, and not unfrequently hard: that of Sophocles is marked by the most finished symmetry and harmonious gracefulness: that of Euripides is soft and luxuriant; overflowing in his easy copiousness, he often sacrifices the general effect to brilliant passages. The analogies which the undisturbed development of the fine arts among the Greeks everywhere furnishes, will enable us, throughout to compare the epochs of tragic art with those of sculpture. Aeschylus is the Phidias of Tragedy, Sophocles her Polycletus, and Euripides her Lysippus. Phidias formed sublime images of the gods, but lent them an extrinsic magnificence of material, and surrounded their majestic repose with images of the most violent struggles in strong relief. Polycletus carried his art to perfection of proportion, and hence one of his statues was called the Standard of Beauty. Lysippus distinguished himself by the fire of his works; but in his time Sculpture had deviated from its original destination, and was much more desirous of expressing the charm of motion and life than of adhering to ideality of form.”
August Wilhelm Schlegel, Lectures on Dramatic Art and Literature

August Wilhelm Schlegel
“But the principal cause of the difference lies in the plastic spirit of the antique, and the picturesque spirit of the romantic poetry. Sculpture directs our attention exclusively to the group which it sets before us, it divests it as far as possible from all external accompaniments, and where they cannot be dispensed with, it indicates them as slightly as possible. Painting, on the other hand, delights in exhibiting, along with the principal figures, all the details of the surrounding locality and all secondary circumstances, and to open a prospect into a boundless distance in the background; and light and shade with perspective are its peculiar charms. Hence the Dramatic, and especially the Tragic Art, of the ancients, annihilates in some measure the external circumstances of space and time; while, by their changes, the romantic drama adorns its more varied pictures. Or, to express myself in other terms, the principle of the antique poetry is ideal; that of the romantic is mystical: the former subjects space and time to the internal free-agency of the mind; the latter honours these incomprehensible essences as supernatural powers, in which there is somewhat of indwelling divinity.”
August Wilhelm Schlegel, Lectures on Dramatic Art and Literature

Arnold Hauser
“Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.”
Arnold Hauser, The Social History of Art: Volume 1: From Prehistoric Times to the Middle Ages

Andy Goldsworthy
“A tension develops between what I want and what is emerging. This tension is important to the feeling of the piece.”
Andy Goldsworthy, Passage

Andy Goldsworthy
“Sometimes I feel that the source of a sculpture's energy comes from the effort of trying to regain a sense of balance lost at some point when I lacked control or concentration or perhaps made an error of judgment.

Such moments happen all the time in the making of a sculpture. Not to experience uncertainty or to make no mistakes would in a sense render the making of a sculpture pointless. Any new work should challenge my understanding of both how and why a sculpture should be made.”
Andy Goldsworthy, Passage

Andy Goldsworthy
“Fear always accompanies the making of art, generated by the shock of seeing an idea taking its form. A sculpture in the mind is safe and secure--the actual work rarely behaves as intended.”
Andy Goldsworthy, Passage

Andy Goldsworthy
“My art helps make sense of things.”
Andy Goldsworthy, Passage

Patricia Robin Woodruff
“In poetry we pare down our thoughts into their most graceful shapes, like minimalist sculptures.”
Patricia Robin Woodruff

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