“Circle' was published at last [constructivist manifesto, in 1937 - with Naum Gabo, Ben Nicholson a. o. ]. Mondrian has made his studio opposite so very beautiful, and his company was always inspiring, as it had been in Paris when we used to visit him. After a while he really seemed to our domestic scene. His studio and Ben’s [the sculptor Ben Nicholson; Barbara was his wife then] were most austere, but my studio was a jumble of children, rocks, sculptures, trees, importunate flowers and washing.”

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

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Barbara Hepworth40

English sculptor 1903–1975

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“When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.”

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Source: 'The Sunday Times', 25 May 1975; as quoted in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 121

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“The violent quarrel between the abstractionists [like Barbara Hepworth and Ben Nicholson, both English sculptors] and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part. And I think the first inception of a painting or a sculpture may begin from either end.”

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“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

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“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
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Alexander Calder (1898–1976) American artist

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“I got so depressed that I went to an astrologer…. everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio]”

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“Corot spoiled the 'étude' [study] we admired so much when we saw it at his home, by redoing it in the studio.”

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