“My work may be balanced on the second side [the Romantic tendency]….- but I believe it has some elements of order & unity, some design, even balance & abstract qualities, some tenseness. When its all classical, its too obvious & cold & deadly perfect - when its all romantic, its too loose uncontrolled wildly chaotic & shapeless – But in my opinion – Gothic sculpture – Mexican, all primitive sculpture, Shakespeare, Beethoven, Tintoretto, El Greco, Rubens, Michelangelo, Masaccio, are all more romantic than classic [Moore is reacting here on Stanley Casson's critic in 'The Listener' 25 Aug. 1937”

— Henry Moore

Source: 1925 - 1940, Unpublished notes' for 'The Sculptor Speaks' (1937), p. 116

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Henry Moore 44

English artist 1898–1986

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“Mexican sculpture, as soon as I found it, seemed to me true and right, perhaps because I at once hit on similarities in it with some eleventh-century carvings I had seen as a boy on Yorkshire churches. Its 'stoniness', by which I mean its truth to material, its tremendous power without loss of sensitiveness, its astonishing variety and fertility of form-invention and its approach to a full three-dimensional conception of form, makes it unsurpassed in my opinion by any other period of stone sculpture.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in 'The Listener', 24 April 1941, pp. 598-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 104
1940 - 1955

“.. these reproductions were in Zwemmer's bookshop [in the 1920's]. I can see them now. They were black. There was one on Negro sculpture, one on Mexican sculpture, one on an Egyptian sculpture, and so on. And all these I knew. And in one of them was this small reproduction of the Chac Mool [famous Toltec-Maya sculpture]. It was the pose that struck me – this idea of a figure being on its back and turned upwards to the sky instead of lying on its side, which is a different sort of idea from the Renaissance, or Greek reclining figure, which is usually on its side. And this gave me all sorts of chances of making variations on it.”

Henry Moore (1898–1986) English artist

Quote from The Donald Caroll interviews, Talmy Franklin, London 1973, p. 377
1970 and later

“From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture... My works of this time up to 1924.... are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Gabo, as cited in: Simon Wilson (1991), Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition. p. 146
undated

“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.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, The sculptor speaks' (1937), pp. 254-255

“There are some nights when
sleep plays coy,
aloof and disdainful.
And all the wiles
that I employ to win
its service to my side
are useless as wounded pride,
and much more painful.”

Maya Angelou (1928–2014) American author and poet

“We are at the classic-romantic barrier now, where on one side we see a cycle as it appears immediately—and this is an important way of seeing it—and where on the other side we can begin to see it as a mechanic does in terms of underlying form—and this is an important way of seeing things too. These tools for example—this wrench—has a certain romantic beauty to it, but its purpose is always purely classical. It's designed to change the underlying form of the machine.”

Robert M. Pirsig book Zen and the Art of Motorcycle Maintenance

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 8

“If I had written King Lear, I would regret it all my life afterwards. Because that work is so big, that its defects show as huge, its monstrous defects, things even minimal in between some scenes and their possible perfection. It's not the sun with spots; it's a broken greek statue.”

Fernando Pessoa book The Book of Disquiet

Ibid., p. 250
The Book of Disquiet
Original: Se eu tivesse escrito o Rei Lear, levaria com remorsos toda a minha vida de depois. Porque essa obra é tão grande, que enormes avultam os seus defeitos, os seus monstruosos defeitos, as coisas até mínimas que estão entre certas cenas e a perfeição possível delas. Não é o sol com manchas; é uma estátua grega partida.

“For all its apparent tolerance, the USA maintains a peculiar balance between the forces of capitalism and democracy. To achieve this I feel sure the country is guided by some hidden force; an organization working in secrecy, powerful enough to dispose of the Kennedys and of anyone else who gets in its way.”

Mohammad Reza Pahlavi (1919–1980) Shah of Iran

As quoted in Asadollah Alam (1991), The Shah and I: The Confidential Diary of Iran's Royal Court, 1968-77, page 169
Attributed

“I prefer Mexican to Mayan sculpture. Mexican stone sculptures have largeness of scale & a grim, sublime, austerity, a real stoniness. They were the true sculptors in sympathy with their material & their sculpture has some of the character of mountains, of boulders, rocks & sea worn pebbles.”

Henry Moore (1898–1986) English artist

in 'Unpublished notes', c. 1925-1926, HMF archive; as quoted in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 97
1925 - 1940

“Sculpture communicates an immediate sense of life - you can feel the pulse of it. It is perceived, above all, by the sense of touch which is our earliest sensation; and touch gives us a sense of living contact and security. […] That has nothing to do with the question of perfection, or harmony, or purity, or escapism. It lies far deeper; it is the primitive instinct which allows man to live fully with all his perceptions active and alert, and in the calm acceptance of the balance of life and death. In its insistence on elementary values, sculpture is perhaps more important today than before because life's continuity is threatened and this has given us a sense of unbalance.”

Barbara Hepworth (1903–1975) English sculptor

Quote from a conversation with J.P. Hodin, 28 August 1959; extract from J.P. Hodin, Barbara Hepworth, London, 1961, Two Conversations with Barbara Hepworth: 'Art and Life' and 'The Ethos of Sculpture', pp. 23–24
1947 - 1960

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Henry Moore 44

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