Sculpture Quotes

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When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.

In 1968 Ian Wilson made his final sculpture. Since then, he has explored the idea of oral communication as an art form... Wilson's work is very hard to track down, even in terms of documentation. He has been compared to the Socratic philosophers but if there is a similarity between his practice and theirs, it probably lies mainly in the fact that everything we have from that period of philosophy takes the form of secondary fragments embedded in other texts. Wilson's work functions almost like archaeological or geological evidence: it consists of objects that we examine in order to deduce, from scanty clues, what must have happened.

Edward Allington

Great talents are not, before God, a substitute for love for Himself; the possession of a profound intellect does not free any man from the obligations resting on the heart for purity and holiness; a reputation for attainments in science does not settle the question whether he is righteous before his Maker; refined manners are not, in the sight of God, a substitute for the graces of the Spirit; God does not justify man on the ground of human learning; attainments in chemistry, anatomy, geology, botany, astronomy, or skill in sculpture and painting, — these do not prepare a man to die.

Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.

Harold Rosenberg

'Fat' traverses the path from a chaotically dispersed, undirected energy form to a form. Then it appears in the famous fat corner.... now [a wedge of fat in the angle between seat and back of the wooden old Chair, Beuys used in the fat-sculpture, like 'Stuhl mit Fett (Fet Chair), 1964] intersects the human body in the region that houses certain emotional forces [Beuys laughed, and so did everyone else of the public].

Architecture, sculpture, painting, music, and poetry, may truly be called the efflorescence of civilised life.

Herbert Spencer

Sculpture is a parable in three dimensions, a symbol of a spiritual experience, and a means of conveying truth by concentrating its essence into visible form.... It must be the reflection of the artist who creates it and of the era in which he lives, not an echo or a memory of other days and other ways.

Malvina Hoffman

Recently I have been working in the country, where, carving in the open air, I find sculpture more natural than in a London studio, but it needs bigger dimensions. A large piece of stone or wood placed almost anywhere at random in a field, orchard, or garden, immediately looks right and inspiring.

One of the mysteries is how the human mind can hear a piece of music, a symphony from the beginning to the end, before beginning; or see a sculpture finished all the way round, when it doesn't exist. Now these faculties are the sort faculties which are needed in sciences, math, and medicine and all kind of things. But if one has them, one has to learn to use them... You can't start with a block and say: Now it's going to dictate me'. You [the artist] dictate to it.

Barbara Hepworth

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.

The tools of scholarly criticism-stylistics, iconographical analysis, historical context, and formal analysis in the last 50 years-remain as trusted now as ever. Yet they explain with diminishing clarity what has happened after 1800, and almost nothing of what has happened in sculpture in the last 60 years

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

I do not often follow its path from a previously conceived drawing. If I have a strong feeling about its start, I do not need to know its end; the battle for solution is the most important. If the end of the work seems too complete and final, posing no question, I am apt to work back from the end, that in its finality it poses a question and not a solution.
Sometimes when I start a sculpture I begin with only a realized part; the rest is travel to be unfolded, much in the order of a dream.

Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. [...] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or [...] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind.

Barbara Hepworth

The nature of my sculpture is not fixed and finished. Processes continue in most of them: chemical reactions, fermentation, color changes, delays, drying up. Everything is in a STATE of CHANGE.

Yes. There was a period when I tried to avoid looking at Greek – and Renaissance – sculpture of any kind; when I thought that the Greek and Renaissance were the enemy and that one had to throw all that over and start again from the beginning of primitive art. It's only in the last ten or fifteen years that I've begun to know how wonderful the elgin Marbles are.

For me sculpture is divinity. This is the only answer that I could find for myself. Art is man's distinctly human way of fighting death. Through art, man achieves immortality and in this immortality we find God.

Jacques Lipchitz

The violent quarrel between the abstractionists [like Barbara Hepworth and Ben Nicholson, both English sculptors] and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist's personality must play their part. And I think the first inception of a painting or a sculpture may begin from either end.

All I'm doing is putting Brancusi's 'Endless Column' on the ground, instead of in the sky. Most sculpture is priapic with the male organ in the air. In my work, Priapus is down on the floor. The engaged position is to run along the earth.

The wood-carving, the glass windows, the sculpture, inside and out, were done mostly in workshops on the spot, but besides these fixed objects, precious works of the highest perfection filled the church treasuries. Their money-value was great then; it is greater now. No world's-fair is likely to do better today. After five hundred years of spoliation, these objects fill museums still, and are bought with avidity at every auction [....] Royalty and feudality spent their money rather on arms and clothes. The Church alone was universal patron, and the Virgin was the dictator of taste.

Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

Barbara Hepworth

The essence of sculpture is for me the perception of space, the continuum of our existence.

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

The free placement of the means of expression is a privilege enjoyed exclusively by painting. 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..

I was positively stunned and have straightaway become a votary of Mathura art to the exclusion of all the other and later schools. I had some of the things in reproductions but never dreamt they were so magnificent. With the possible exception of Mahabalipuram I don't think I have seen anything in Indian sculpture that I liked so much.

Amrita Sher-Gil