“I believed before that (journey to Italy in 1875)… that movement was the whole secret of this art, and I put my models into positions like those of Michael Angelo. But as I went on observing the free attitudes of my models I perceived that they possessed thèse naturally^ and that Michael Angelo had not preconceived them, but merely transcribed them according to the Personal inspiration of human beings moved by the need of action. I went to Rome to look for what may be found everywhere : the latent heroic in every natural movement.”

— Auguste Rodin

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65

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Auguste Rodin 73

French sculptor 1840–1917

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“I used to worship the mighty genius of Michael Angelo — that man who was great in poetry, painting, sculpture, architecture — great in every thing he undertook. But I do not want Michael Angelo for breakfast — for luncheon — for dinner — for tea — for supper — for between meals. I like a change, occasionally.”

Mark Twain book The Innocents Abroad

Source: The Innocents Abroad (1869), Ch. 27

“Enough, enough, enough! Say no more! Lump the whole thing! say that the Creator made Italy from designs by Michael Angelo!”

Mark Twain book The Innocents Abroad

Source: The Innocents Abroad (1869), Ch. 27

“I was born in New York, then I went to the UK, then I went to Brazil, then I went to France, then I studied in Italy. My life was always about being confronted with an environment where you had to adapt.”

John Elkann (1976) Italian businessman

"Unlikely heir who saved the family jewels" http://www.ft.com/cms/s/0/0693507a-4830-11e0-b323-00144feab49a.html#axzz1GZU7VVRA, Financial Times, 03-06-11

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

“I want to be free Michael, just for once in my whole life I want to be free"

"You are free. You just don't know it yet”

Francine Rivers (1947) American writer

Source: Redeeming Love

“There was a lot of revision that went into [making] the [Wind] sculptures, [c. 2009 - meant as her response to the death of Michael Jackson which she admired]. It might look like I just went in the gallery and they just went up – just like that – but it was not like that. It was really a long process to get the things to look the way they do, to have that balance especially in relation to what I already said about minimalism, and to also have this light touch to them.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

“I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.”

Raymond Chandler book Farewell, My Lovely

Source: Farewell, My Lovely (1940), chapter 34

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

“On November 8, the feast of Saints Archangels Michael and Gabriel, we were discussing the possible name for this youth organization. I said: "Let it be 'Michael the Archangel'." My father said: "There is in the church, on the left hand door of the altar, an icon of St. Michael." "Let us go see it!" Mota, Garneata, Corneliu Georgescu, Radu Mironovici, Tudose and I went to look at it and we were truly amazed. The icon appeared to us of unsurpassed beauty. I was never, attracted by the beauty of any icon. But now, I felt bound to this one with all my soul and I had the feeling the Archangel was alive. Since then, I have come to love that icon. Any time we found the church open, we entered and prayed before that icon. Our hearts were filled with peace and joy.”

Corneliu Zelea Codreanu (1899–1938) Romanian politician

For My Legionaries: The Iron Guard (1936), The Legion

“An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth.
When a good sculptor models a torso, he not only represents the muscles, but the life which animates them — more than the life, the force that fashioned them and communicated to them, it may be, grace or strength, or amorous charm, or indomitable will.
In the works of Michael Angelo, the creative force seems to rumble; in those of Luca della Robbia it smiles divinely. So each sculptor, following his temperament, lends to nature a soul either terrible or gentle.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. Mystery in Art, p. 178

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