Quotes About Sculpture

I just want my work to be part of the elemental world.

In museums I always enjoy stopping at the Saint Jeromes.

It's not for reading. It's for making. I make things with books. I make objects. Yes, artworks: statues, pictures, whatever you want to call them. I even had a show. I fix the books with mastic, and they stay as they were. Shut, or open, or else I give them forms, I carve them, I make holes in them. A book is a good material to work with; you can make all sorts of things with it.

Trying to understand man without recognizing him as imago Dei is like trying to understand a bas-relief without recognizing it as a carving.

The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.

I'm amazed by how angry people get about new art, particularly new sculptures in their town. The people who hate new sculpture usually find their type of art on birthday cards, pictures of a vintage car going round a hairpin bend and suchlike.

I am not what I am, I am what I do with my hands...

here" was the garden of the Musée Rodin, in Paris,

did. The Burghers of Calais." Armand raised his head and stared up into the eyes of Eustache.

Sometimes a name seems our most arbitrary possession, and sometimes it seems like the grain in a rock like a sculptor's hunk of Italian marble: Whack it and you might get either your first glimpse of a saint or a pile of rubble.

Perfect typography is certainly the most elusive of all arts. Sculpture in stone alone comes near it in obstinacy.

A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance.

A statue in a garden is to be considered as one part of a scene or landscape.

I don't design. I don't paint. I absolutely never touch my works.

Since the design of the movement is paramount, shape, for me, should have no significance.

I cannot pretend to do sculpture and make a woman the ridiculous pedestal of my pretensions. To render clothing poetic, yes--but one must preserve its dignity as clothing.

My latest works are these things with light bulbs.

There are no such things as the Elgin Marbles.

People do look different with their eyes closed, their features seem so much more sculptured.

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.

You know, a carving, especially if it's polychrome, is not meant to move. These faces, these half-bodies, when you animate them, they're more live than the living. They can be dangerous for those who don't really understand them. With contained energy, no one can predict what will happen when it's released.

The most beautiful statue that Powers ever chiseled does not compare for grace and beauty with the Divine model. The same mystic element of life is wanting.

While he wrote the fourth and final movement of the symphony, an artist who lived in the apartment above him started sculpting a bust of him. Shostakovich sat uneasily while he was being sculpted. He couldn't sit still. His fingers kept tapping as he played scales and chords on his cheeks.

I felt him looking at me, admiring his work. He had not carved me like this, but he was imagining doing it. A beautiful statue, named The Supplicant.