Quotes about sculpture

A collection of quotes on the topic of sculptural, sculpture, art, painting.

Quotes about sculpture

Andy Goldsworthy photo

“My sculpture can last for days or a few seconds — what is important to me is the experience of making. I leave all my work outside and often return to watch it decay.”

Andy Goldsworthy (1956) British sculptor and photographer

"Stone River Enters Stanford University's Outdoor Art Collection" (4 September 2001)

Martin Luther photo
Louise Bourgeois photo
Alok Vaid-Menon photo
Jimmy Carter photo
Umberto Boccioni photo

“I work a lot but don't seem to finish. That is, I hope what I am doing means something because I don't know what I am doing. It's strange and terrible but I feel calm. Today I worked non-stop for six hours on a sculpture and I don't know what the result is... Planes upon planes, sections of muscles, of a face and then? And the total effect? Does what I create live? Where will I end up?”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni's quote, from an undated letter to Gino Severini (probably July or August 1912, or November); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1912

Ben Klassen photo
Eleanor Roosevelt photo
Mark Twain photo
Robert Browning photo

“Round and round, like a dance of snow
In a dazzling drift, as its guardians, go
Floating the women faded for ages,
Sculptured in stone on the poet's pages.”

Robert Browning (1812–1889) English poet and playwright of the Victorian Era

Women and Roses.
Bartlett's Familiar Quotations, 10th ed. (1919)

Joseph Beuys photo
Pablo Picasso photo

“Their forms had no more influence on me than they did on Matisse. Or Derain. But for them, the masks were sculptures like all others. When Matisse showed me his first African head, he spoke to me of Egyptian art.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Andre Malraux cites Picasso in: Anatoliĭ Podoksik, ‎Marina Aleksandrovna Bessonova, ‎Pablo Picasso (1989), Picasso: The Artists Work in Soviet Museums. p. 13.
Picasso talking about his discovery of African art.
Attributed from posthumous publications

Auguste Rodin photo

“.. sculpture as a process of recognition.... in the great quiet of stopped machines -- the awe, the pull... Part is personal heritage... Since I've had identity, the desire to create excels over the desire to visit”

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

the ancient sites and museums in Italy
from his notes 'Report on Voltri', shortly after 1962, about making his huge sculptures in Voltri, 1962
1960s, The Fields of David Smith,' (1999)

Frank Popper photo

“One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i. e. spectator participation.”

Frank Popper (1918) French art historian

Source: Joseph Nechvatal. in: " Origins of Virtualism: An Interview with Frank Popper http://www.mediaarthistory.org/refresh/Programmatic%20key%20texts/pdfs/Popper.pdf," in: Media Art History, 2004.

Walter Gropius photo
H.P. Lovecraft photo
Thomas Mann photo
Leonardo Da Vinci photo

“Sculptured figures which appear in motion, will, in their standing position, actually look as if they were falling forward.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), XI The Notes on Sculpture

Richard Long photo
Frank Zappa photo

“Everything on this planet has something to do with music. Music functions in the realm of sculptured air.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

Oui interview (1979)
Context: Everything on this planet has something to do with music. Music functions in the realm of sculptured air. Polluted as our atmosphere might be, air is the thing that makes music work. Since all other things that occur in the sound domain are transmitted to the ear through that swirling mass, depending on how wide you want to make your definition, you could perceive quite a bit of human experience in terms of music.

Bertrand Russell photo
Edwidge Danticat photo
Julia Child photo
Cassandra Clare photo
John Steinbeck photo
Nathaniel Hawthorne photo

“Moonlight is sculpture; sunlight is painting.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

1838
Notebooks, The American Notebooks (1835 - 1853)

William Golding photo
Benvenuto Cellini photo

“Painting, in fact, is nothing else much than a tree, a man, or any other object, reflected in the water. The distinction between sculpture and painting, is as great as between the shadow and the substance.”

Benvenuto Cellini (1500–1571) Florentine sculptor and goldsmith

La Pittura non è altro, che o albero o uomo o altra cosa, che si specchi in un fonte. La differenza, che è dalla Scultura alla Pittura è tanta, quanto è dalla ombra e la cosa, che fa l'ombra.
Letter to Benedetto Varchi, January 28, 1546, cited from G. P. Carpani (ed.) Vita di Benvenuto Cellini (Milano: Nicolo Bettoni, 1821) vol. 3, p. 185; translation from Thomas Nugent (trans.) The Life of Benvenuto Cellini, a Florentine Artist (London: Hunt and Clarke, 1828) vol. 2, p. 265.

Ossip Zadkine photo
Ossip Zadkine photo
Umberto Boccioni photo
Jacques Lipchitz photo
Aristide Maillol photo

“My sculpture is altogether different from Rodin’s…. In sculpture he [Rodin] always sees the flesh first. [answering his critics]”

Aristide Maillol (1861–1944) sculptor from France

Quote in 'Aristide Maillol', George Waldemar (1965) p. 46; as cited in 'A sculpture of interior Solitude', Angelo Carnafa, Associated University Presse, 1999, p. 166

“Sculpture is as free as the mind; as complex as life..”

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

in his notes for an article, 1951
Source: 1950s, from 'Abstract Expressionism' (1990), p. 159

Richard Salter Storrs photo
Auguste Rodin photo

“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

Henry Moore photo
Marino Marini photo
Isa Genzken photo
Vanna Bonta photo
Florence Earle Coates photo

“Sculpture and painting are moments of life. Poetry is life itself.”

Florence Earle Coates (1850–1927) American writer and poet

On poetry

Ossip Zadkine photo
William Cullen Bryant photo

“Loveliest of lovely things are they,
On earth, that soonest pass away.
The rose that lives its little hour
Is prized beyond the sculptured flower.”

William Cullen Bryant (1794–1878) American romantic poet and journalist

A Scene on the Banks of the Hudson http://www.4literature.net/William_Cullen_Bryant/Scene_on_the_Banks_of_the_Hudson/, st. 3 (1828)

Will Self photo

“I think of writing as a sculptural medium. You are not building things. You are removing things, chipping away at language to reveal a living form.”

Will Self (1961) English writer and journalist

Quoted by The Guardian http://books.guardian.co.uk/authors/author/0,5917,-164,00.html

Auguste Rodin photo

“The sculptor must learn to reproduce the surface, which means all that vibrates on the surface: spirit, soul, love, passion — life. … Sculpture is thus the art of hollows and mounds, not of smoothness, or even polished planes.”

Auguste Rodin (1840–1917) French sculptor

In; Victor Frisch, ‎Joseph Twadell Shipley (1939). Auguste Rodin. p. 203: About the act of creation.
1900s-1940s

Richard Long photo
Isa Genzken photo
Kurt Schwitters photo

“Since the loss of the Merzbau [his former studio in Hannover, which was a big sculpture (5 x 4 x 4,5 meters) I did a lot of small sculptures..”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : in a letter to Edgar Kaufmann, 16 July 1946

“I would like to make sculpture that would rise from water and tower in the air
- that carried conviction and vision that had not existed before..”

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

1940s, The Question – What is your Hope' (c. 1940s)

Marcel Duchamp photo

“Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N. Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.”

Marcel Duchamp (1887–1968) French painter and sculptor

long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158
1915 - 1925

Lyubov Popova photo

“The role of the 'representational arts' - painting, sculpture, and even architecture…. has ended, as it is no longer necessary for the consciousness of our age, and everything art has to offer can simply be classified as a throwback.”

Lyubov Popova (1889–1924) Russian artist

Quote, c. 1921; from Lyubov' Popova, in 'Commentary on Drawings', trans. ed. James West, in Art Into Life: Russian Constructivism, 1914-1932; catalogue for exhibition Rizzoli, New York: 1990, p. 69 (Popova's original text, in the Manuscript Division, State Tretiakov Gallery, Moscow, f. 148, ed. khr. 17, 1. 4.)

Will Cuppy photo

“[Footnote] At the age of twelve Nero had shown a lively interest in the arts, particularly music, painting, sculpture, and poetry. Why was nothing done about this?”

Will Cuppy (1884–1949) American writer

The Decline and Fall of Practically Everybody (1950), Part II: Ancient Greeks and Worse, Nero

Hans Arp photo

“These paintings, these sculptures – these objects – should remain anonymous, in the great workshop of nature, like the clouds, the mountains, the seas, the animals, and man himself. Yes! Man should go back to nature! Artists should work together like the artists of the Middle Ages.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

In 1915, w:Otto van Rees, A.C. van Rees, Freundlich, S. Taeuber [his wife] and Arp made an attempt of this sort, as Arp mentioned himself.
Source: 1940s, Abstract Art, Concrete Art (c. 1942), p. 118

Albert Barnes photo
Isa Genzken photo
Henry Moore photo

“The idea for [his sculpture] 'The Warrior' came to me at the end of 1952 or very early in 1953. It was evolved from a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip. Just as Leonardo says somewhere in his notebooks that a painter can find a battle scene in the lichen marks on a wall, so this gave me the start of The Warrior idea. First I added the body, leg and one arm and it became a wounded warrior, but at first the figure was reclining. A day or two later I added a shield and altered its position and arrangement into a seated figure and so it changed from an inactive pose into a figure which, though wounded, is still defiant... The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forbearance of pain... The figure may be emotionally connected (as one critic has suggested) with one’s feelings and thoughts about England during the crucial and early part of the last war. The position of the shield and its angle gives protection from above. The distance of the shield from the body and the rectangular shape of the space enclosed between the inside surface of the shield and the concave front of the body is important... This sculpture is the first single and separate male figure that I have done in sculpture and carrying it out in its final large scale was almost like the discovery of a new subject matter; the bony, edgy, tense forms were a great excitement to make... Like the bronze 'Draped Reclining Figure' of 1952-3 I think 'The Warrior' has some Greek influence, not consciously wished…”

Henry Moore (1898–1986) English artist

Quote from Moore's letter, (15 Jan. 1955); as cited in Henry Moore on Sculpture: a Collection of the Sculptor's Writings and Spoken Words, ed. Philip James, MacDonald, London 1966, p. 250
1940 - 1955

James Tod photo

“Those who expect from a people like the Hindus a species of composition of precisely the same character as the historical works of Greece and Rome commit the very gregarious error of overlooking the peculiarities which distinguish the natives of India from all other races, and which strongly discriminate their intellectual productions of every kind from those of the West. Their philosophy, their poetry, their architecture, are marked with traits of originality; and the same may be expected to pervade their history, which, like the arts enumerated, took a character from its intimate association with the religion of the people. It must be recollected, moreover,… that the chronicles of all the polished nations of Europe, were, at a much more recent date, as crude, as wild, and as barren, as those of the early Rajputs.” … “My own animadversions upon the defective condition of the annals of Rajwarra have more than once been checked by a very just remark: ‘When our princes were in exile, driven from hold to hold, and compelled to dwell in the clefts of the mountains, often doubtful whether they would not be forced to abandon the very meal preparing for them, was that a time to think of historical records?’ ”… “If we consider the political changes and convulsions which have happened in Hindustan since Mahmood’s invasion, and the intolerant bigotry of many of his successors, we shall be able to account for the paucity of its national works on history, without being driven to the improbable conclusion, that the Hindus were ignorant of an art which has been cultivated in other countries from almost the earliest ages. Is it to be imagined that a nation so highly civilized as the Hindus, amongst whom the exact sciences flourished in perfection, by whom the fine arts, architecture, sculpture, poetry, music, were not only cultivated, but taught and defined by the nicest and most elaborate rules, were totally unacquainted with the simple art of recording the events of their history, the character of their princes and the acts of their reigns?”

James Tod (1782–1835) 1782-1835, English officer of the British East India Company and an Oriental scholar

[The fact appears to be that] “After eight centuries of galling subjection to conquerors totally ignorant of the classical language of the Hindus; after every capital city had been repeatedly stormed and sacked by barbarous, bigoted, and exasperated foes; it is too much to expect that the literature of the country should not have sustained, in common with other interests, irretrievable losses.”
James Tod, Annals and Antiquities of Rajasthan, Routledge and Kegan Paul (London,l829,1957), 2 vols., I quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3

Giorgio Vasari photo
Barbara Hepworth photo
Amrita Sher-Gil photo
Jeremy Clarkson photo
Henry Moore photo

“And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles…. the changing became so drastic that I think he knocked the head off the sculpture… So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?… But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in his interview with David Silvester, in 'The Sunday Times Magazine', 16 Febr. 1964, pp. 18, 20-22
1955 - 1970

Charles Rollin photo
Letitia Elizabeth Landon photo
Charles Babbage photo

“There are in the Exhibition some beautiful examples of such lace amongst the productions of other countries as well as of our own. They are made by the united labour of many women. The cost of a piece of lace will consist of:
# The remuneration to the artist who designs the pattern.
# The cost of the raw material.
# The cost of the labour of a large number of women working on it for many months.
Let us compare this with the cost of a piece of statuary, which is undoubtedly of a much higher class of art; it will consist of:
# The remuneration to the artist who makes the model.
# The cost of the raw material.
# The cost of labour, by assistants in cutting the block to the pattern of the model.
# Finishing the statue by the artist himself.
In lace making the skill of the artist is required only for the production of the first example. Every succeeding copy is made by mere labour: each copy may be considered as an individual, and will cost the same amount of time.
In sculpture the three first processes are quite analogous to those in lace-making. But the fourth process requires the taste and judgment of the artist. It is this which causes it to retain its rank amongst the fine arts, whilst lacemaking must still be classed amongst the industrial.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 49-50

Joseph Beuys photo
Frank Gehry photo
Andy Warhol photo
Khushwant Singh photo
Piet Mondrian photo

“The free placement of the means of expression is a privilege enjoyed exclusively by painting [different opinion with Theo van Doesburg]] ]. The sister arts, sculpture and architecture, are more restricted in this respect. The other arts enjoy even less scope in their employment of the means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, c. Oct. 1917; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963 (transl. Daphne Woodward), p. 237
1910's

Anish Kapoor photo
Auguste Rodin photo

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

Georg Wilhelm Friedrich Hegel photo

“Architecture is treated as crystallisation; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance.”

Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist.
Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm
Lectures on Aesthetics (1835)

Frank Stella photo

“I don't know how I got into sculpture. I liked its physicality, that's the only reason. I didn't have a program.”

Frank Stella (1936) American artist

Quote: Stella's response to the question: Is that one of the reasons you went into sculpture?
Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28,

“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

design as well as draw!
George Wallis. " Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&pg=PA231." In: People's & Howitt's Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.

Naum Gabo photo

“I want sculpture to show the wonder of man, that flowing water, rocks, clouds
vegetation have for the man in peace who glories in existence... Its existence will be its statement”

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

1940s, The Question – What is your Hope' (c. 1940s)

Barbara Hepworth photo
Richard Long photo
Upton Sinclair photo
Letitia Elizabeth Landon photo

“The same, yet not the same — her face
Has still that Grecian line;
The sculptured perfectness whose grace
Has long been held divine.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Amulet, 1831 (1830), The Legacy
Other Gift Books

Albert Camus photo
Henry Moore photo
Barbara Hepworth photo