Best 107 quotes in «sculpture quotes» category

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    Some of the most beautiful bird calls are cries of distress and fear....these sculptures are a way for me to express my cry.

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    Take a relief. You draw it, you carve it out. Later you build it up from a flat surface. There is no other way to do a sculpture - you either add or you subtract.

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    The best artist has that thought alone Which is contained within the marble shell; The sculptor's hand can only break the spell To free the figures slumbering in the stone.

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    Such is the strength of art, rough things to shape.

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    The more the marble wastes, The more the statue grows.

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    The first snow always startles. It covers the tricycle in the driveway, turning its frame into an abstact sculpture that says: See how quickly yesterday turns into today.

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    The Paphian Queen to Cnidos made repair Across the tide to see her image there: Then looking up and round the prospect wide, When did Praxiteles see me thus? she cried.

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    The skull is nature's sculpture.

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    The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.

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    There is neither painting, nor sculpture, nor music, nor poetry. The only truth is creation.

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    The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not.

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    There's something imminent in the work, but the circle is only completed by the viewer.

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    To accuse me of making sensations is the easiest way of attacking me, and in reality leaves the question of sculpture untouched.

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    We are each given a block of marble when we begin a lifetime, and the tools to shape it into sculpture... We can drag it behind us untouched, we can pound it into gravel, we can shape it into glory.

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    Venice is all sea and sculpture.

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    When I was about fifteen, I went to work at Yosemite National Park. It changed me forever. Nature had carved its own sculpture, and I was part of it, not the other way around.

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    Well, what I'm doing is really clothing. I'm not doing sculpture.

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    Whatever your life's pursuit -- art, poetry, sculpture, music, whatever your occupation may be -- you can be as spiritual as clergy, always living a life of praise.

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    Writing is like a sculpture where you remove, you eliminate, in order to make the work visible. Even those pages you remove somehow remain

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    Without the definiteness of sculpture and painting, music is, for that very reason, far more suggestive. Like Milton's Eve, an outline, an impulse, is furnished, and the imagination does the rest.

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    The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.

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    Within my heart is carved a sculpture of your love.

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    You wouldn't ask Rodin to make an ugly sculpture, or me to make a film with an ugly woman.

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    A heart of stone is a sculpture? (Un cœur de pierre - Est une sculpture ?)

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    Art depicts life and life depicts art.

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    As Henry Moore carved or modelled his sculpture every day, he strove to surpass Donatello 4. and failed, but woke the next morning elated for another try.

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    But the principal cause of the difference lies in the plastic spirit of the antique, and the picturesque spirit of the romantic poetry. Sculpture directs our attention exclusively to the group which it sets before us, it divests it as far as possible from all external accompaniments, and where they cannot be dispensed with, it indicates them as slightly as possible. Painting, on the other hand, delights in exhibiting, along with the principal figures, all the details of the surrounding locality and all secondary circumstances, and to open a prospect into a boundless distance in the background; and light and shade with perspective are its peculiar charms. Hence the Dramatic, and especially the Tragic Art, of the ancients, annihilates in some measure the external circumstances of space and time; while, by their changes, the romantic drama adorns its more varied pictures. Or, to express myself in other terms, the principle of the antique poetry is ideal; that of the romantic is mystical: the former subjects space and time to the internal free-agency of the mind; the latter honours these incomprehensible essences as supernatural powers, in which there is somewhat of indwelling divinity.

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    In time, all great masterpieces turn into shameless creatures who laugh at their creators.

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    Dance is moving sculpture.

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    I am a she. The mask is a he, or is actually gender-neutral. People love the character.

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    I became an artist because I wanted to be an active participant in the conversation about art.

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    I'd be looking at some stony sculpture Michelangelo would have killed his grandmother to be able to do, and thinking, I don't know that color, that color doesn't exist, but like wow.

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    In poetry we pare down our thoughts into their most graceful shapes, like minimalist sculptures.

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    Dr Sass…maintained that in paradise, until the time of the fall, the whole world was flat, the back-curtain of the Lord, and that it was the devil who invented a third dimension. Thus are the words ‘straight’, ‘square’, and ‘flat’ the words of noblemen, but the apple was an orb, and the sin of our first parents, the attempt at getting around God. I myself much prefer the art of painting to sculpture

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    For eyes we have no models in the remotely antique.

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    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.

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    Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.

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    Literature, although it stands apart by reason of the great destiny and general use of its medium in the affairs of men, is yet an art like other arts. Of these we may distinguish two great classes: those arts, like sculpture, painting, acting, which are representative, or as used to be said very clumsily, imitative; and those, like architecture, music, and the dance, which are self-sufficient, and merely presentative.

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    Maybe I liked his sculpture more when I couldn’t get close to it, had to see it from a fixed position through a pane of glass, so that I had to project myself into the encounter with its three-dimensionality.

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    The greatest artist does not have any concept Which a single piece of marble does not itself contain Within its excess, though only A hand that obeys the intellect can discover it.

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    The greatest masters have only made single statues, groups are always inferior; that is why Carpeaux, big though he was, is less so than Rodin, for he never knew how to make single statues. He did not know how to find his rhythm in the arrangement of the shapes of one body, but obtained it by the disposition of several. The great sculptors are there to prove it. Think of the masterpieces which we like most, all standing or seated, and one at a time, and they are not in the least monotonous. The connoisseur loves one spicy cake, but the glutton requires at least six to stimulate his pleasure.

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    One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.

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    What a face this girl possessed!—could I not gaze at it every day I would need to recreate it through painting, sculpture, or fatherhood until a second such face is born. Her face, at once innocent and feral, soft and wild! Her mouth voluptuous. Eyes deep as oceans, her eyes as wide as planets. I likened her to the slender Psyché and judged that the perfection of her face ennobled everything unclean around her: the dusty hems of her bunched-up skirt, the worn straps of her nightshirt; the blackened soles of her tiny bare feet, the coal-stained balcony bricks upon which she sat, and that dusty wrought-ironwork that framed her perch. All this and the pungent air!—almost foul, with so many odors. Ô, that and the spicy night! …Pungency, spice, filth and night, dust and light; all things dark did blossom in sight; flower and bloom, the night has its pearl too—the moon! And once a month it will make the face of this tender girl bloom.

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    ... those who seek the lost Lord will find traces of His being and beauty in all that men have made, from music and poetry and sculpture to the gingerbread men in the pâtisseries, from the final calculation of the pure mathematician to the first delighted chalk drawing of a small child.

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    We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.

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    What a face this girl possessed!—Could I neither die then nor gaze at her face every day, I would need to recreate it through painting or sculpture, or through fatherhood, until a second such face could be born.

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    Under this spell we were really startled by being suddenly confronted by a priestly form. A second glance revealed, however, only a wax figure in priestly robes -- Ignatius, the patron saint of the church; but it was so lifelike that every one of us had started back at the first glance. (pg. 151, Antigua ruins, the Capuchin monks monastery,)

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    We must discard the superfluous, reveal what is unseen. The living flesh at the core of the stone... expose it...

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    What appears in the former statue of Apollo, however, cannot simply be equated with the Olympian of the same name, who had to ensure light, contours, foreknowledge and security of form in his days of completeness. Rather, as the poem's title implies, he stands for something much older, something rising from prehistoric sources. He symbolizes a divine magma in which something of the first ordering force, as old as the world itself, becomes manifest. There is no doubt that memories of Rodin and his cyclopian work ethic had an effect on Rilke here. During his work with the great artist, he experienced what it means to work on the surfaces of bodies until they are nothing but a fabric of carefully shaped, luminous, almost seeing 'places'. A few years earlier, he had written of Rodin's sculptures that 'there were endless places, and none of them did not have something happening in them'. Each place is a point at which Apollo, the god of forms and surfaces, makes a visually intense and haptically palpable compromise with his older opponent Dionysus, the god of urges and currents. That this energized Apollo embodies a manifestation of Dionysus is indicated by the statement that the stone glistens 'like wild beasts' fur'.

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    What a face this girl possessed!—could I not gaze at it every day I would need to recreate it through painting, sculpture, or fatherhood until a second such face is born.