“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

—  David Smith

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
1960s

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; […" by David Smith?
David Smith photo
David Smith 24
American visual artist (1906-1965) 1906–1965

Related quotes

Jean Metzinger photo
Albert Gleizes photo
Joseph Kosuth photo
Julia Child photo
Benvenuto Cellini photo

“I assert that the art of sculpture, among all the arts connected with design, is at least seven times greater than any other, for the following reason: why, sir, a statue of true sculpture ought to have seven points of view, which ought all to boast equal excellence.”

Benvenuto Cellini (1500–1571) Florentine sculptor and goldsmith

Dico, che l'arte della Scultura infra tutte l'arte, che s'interviene disegno, è maggiore sette volte, perchè una statua di Scultura deve avere otto vedute, e conviene che la sieno tutte di egual bontà.
Letter to Benedetto Varchi, January 28, 1546, cited from G. P. Carpani (ed.) Vita di Benvenuto Cellini (Milano: Nicolo Bettoni, 1821) vol. 3, p. 183; translation from Thomas Nugent (trans.) The Life of Benvenuto Cellini, a Florentine Artist (London: Hunt and Clarke, 1828) vol. 2, p. 264.

Alberto Giacometti photo

“A little after I started to do sculpture, I painted some of them, and then I destroyed them all. I've begun again several times. In 1951, I painted a whole series of sculptures. But in painting them, you see what the form lacks. And it's useless to paint over something that you don't believe in. I tried again a month ago. In painting them, the deficiencies of form came through.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: Paul Auster (trans.) " My life is reduced to nothing: David Sylvester talks to Alberto Giacometti about his struggle with proportion and the difficulties of making an eye https://www.theguardian.com/artanddesign/2003/jun/21/art.artsfeatures1," theguardian.com, 21 June 2003.

Samuel Taylor Coleridge photo

“Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

On Poesy or Art (1818)
Context: Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.

Marcel Duchamp photo

“.. because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting? ] was just like printing except it was made by hand by him. That doesn’t add a thing to it.”

Marcel Duchamp (1887–1968) French painter and sculptor

it's just the idea of imitating the beer can that is important.
Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194
posthumous

Frank Stella photo

“The paintings got sculptural because the forms got more complicated. I've learned to weave in and out.”

Frank Stella (1936) American artist

Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

Related topics