“The composition, harmonies and proportions of those 'intended shapes' is the great and most difficult problem which the modern sculptor attacks, for sculpture is only forms, only spaces embraced by lines which demonstrate them. The secrets of a never dying piece of sculpture is to be had only by undergoing experience.”

n.p.
1960 - 1968, Plastic Language, Ossip Zadkine

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Ossip Zadkine31

French sculptor 1890–1967

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“Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself…”

Henry Moore (1898–1986) English artist

Quote of Moore, as cited by Unesco, International Conference of artists, Venice 1952; typescript, in HMF Library
1940 - 1955

“This most modern art discipline - Social Sculpture / Social Architecture - will only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism.”

Joseph Beuys (1921–1986) German visual artist

1970's, I Am Searching For Field Character,' 1973/74

“Visions are from the imaginative mind, sculpture can come from the found discards in nature, from sticks and stones and parts and pieces, assembled or monolithic, solid form, open form, lines of form, or, like a painting, the illusion of form. And sculpture can be painting and painting can be sculpture..”

David Smith (1906–1965) American visual artist (1906-1965)

1950s, Tradition and Identity' (1959)

“The first hole made through a piece of stone is a revelation. The hole connects one side to the other, making it immediately more three-dimensional. A hole can itself have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form. The mystery of the hole – the mysterious fascination of caves in hill sides and cliffs.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, The sculptor speaks' (1937), p. 251

“My objects are to be seen as stimulants for the transformation of the idea of sculpture.... or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.
THINKING FORMS – how we mold our thoughts or
SPOKEN FORMS – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mold and shape the world in which we live:
Sculpture as an evolutionary process; everyone an artist.
That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.”

Joseph Beuys (1921–1986) German visual artist

Beuys' quote from Theory of Social Sculpture, 1979, as cited in: Chris Thompson. Felt: Fluxus, Joseph Beuys, and the Dalai Lama. 2011. p. 88-89
1970's

“[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 (1906–1965) American visual artist (1906-1965)

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

“The spectator of a sculpture, modern or ancient, is not called to examine his own or the sculptor's knowledge of anatomy but to participations, so to say, a participation where the motions which have strangulated the carver, while working, must operate the same mysterious attraction and inexpressible miracle of forms and lines, its dramaticism, its graphic tragedy, or its smiling gaiety and happiness: its words carved out of forms and sown with lines into phrases of philosophy, religion.”

Ossip Zadkine (1890–1967) French sculptor

n.p.
1960 - 1968, Plastic Language, Ossip Zadkine

“To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature.”

Auguste Rodin (1840–1917) French sculptor

Attributed to Auguste Rodin by Isadora Duncan, As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
1900s-1940s

“We deemed the secret lost, the spirit gone,
Which spake in Greek simplicity of thought,
And in the forms of gods and heroes wrought
Eternal beauty from the sculptured stone”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

A higher charm than modern culture won,
With all the wealth of metaphysic lore,
Gifted to analyze, dissect explore.
Life Without and Life Within (1859), Flaxman

“We unfold out of the Idea of Space the propositions of geometry, which are plainly truths of the most rigorous necessity and universality. But if the idea of space were merely collected from observation of the external world, it could never enable or entitle us to assert such propositions: it could never authorize us to say that not merely some lines, but all lines, not only have, but must have, those properties which geometry teaches. Geometry in every proposition speaks a language which experience never dares to utter; and indeed of which she but half comprehends the meaning.”

William Whewell (1794–1866) English philosopher & historian of science

Part 1, Book 1, ch. 7, art. 1.
Philosophy of the Inductive Sciences (1840)

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