“I was attracted to Romanesque sculptures, to the complete re-invented figures and the freedom with which the Romanesque artist constructed them. He does not copy, he creates in a totally anti-Renaissance fashion can say that in Romanesque sculpture I have found a starting point for distortion.”

Kunst und Zeugnis, Dora Vallier, Zürich 1967, p. 67
Quotes of Fernand Leger, 1960's

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Fernand Léger42

French painter 1881–1955

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“Gregorian chant, Romanesque architecture, the Iliad, the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality.”

Simone Weil (1909–1943) French philosopher, Christian mystic, and social activist

Source: Simone Weil : An Anthology (1986), Human Personality (1943), p. 55

“All the art since the Renaissance seemed too men-oriented. I liked (the) object quality. An Egyptian pyramid, a Sung vase, the Romanesque church appealed to me. The forms found in the vaulting of a cathedral or even a splatter of tar on the road seemed more valid and instructive and a more voluptuous experience than either geometric or action painting.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

“.. 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

“I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions... The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 406

“Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime
Source: 1936 - 1941, Life Memories' (1938), p. 24

“Personally, I don't believe in having expectations, but I can say that, regarding my exterior sculptures, I will only exhibit sculptures in the future that will enrich their surroundings.”

Isa Genzken (1948) German sculptor

after 2010, Isa Genzken, the artist who doesn't do interviews' (2014)

“Yes, Wordsworth often personified objects in nature and gave them the human aspect, and personally I have done rather the reverse process in sculpture. I’ve often found that by taking formal ideas from landscape, and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the same effect as a metaphor in painting.”

Henry Moore (1898–1986) English artist

Quote in 'The Listener', 13 November 1941, pp. 657-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, pp. 126-27
1940 - 1955

“My photographs are facts which bring the right accessibility to remote, lonely or otherwise unrecognizable works. Some sculptures are seen by few people, but can be known about by many. My outdoor sculptures and walking locations are not subject to possession and ownership. I like the fact that roads and mountains are common, public land. My outdoor sculptures are places. The material and the idea are of the place; sculpture and place are one and the same. The place is as far as the eye can see from the sculpture. The place for the sculpture is found by walking.”

Richard Long (1945) artist

Richard Long & Kenneth Martin (1980) in: D. Ashton (1985), Twentieth-Century Artists on Art, p. 151
1980s

“Those who do Negro-sculpture in this country are wrong. We are in France; in the country of Ronsard, La Fontaine, and Racine. What connection is there between this country and these men, and Negro sculpture? An artist can only create in accordance with the character of his people and his time.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 407

“All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer — at least the answer for myself. Art is an action against death. It is denial of death.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: The Artist at Work, 1966, p. 202

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