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Sculpture Quotes

Browse 500 quotes about Sculpture.

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Sculpture Quotes

“Architecture exhibits the greatest extent of the difference from nature which may exist in works of art. It involves all the powers of design, and is sculpture and painting inclusively. It shows the greatness of man, and should at the same time teach him humility.”

MenShouldMayArtShowsDifferencesTeachDesignGreatnessHumilityPaintingArchitectureWorks Of ArtSculptureExhibitsGreatness Of Man
Book:The Complete Works of Samuel Taylor Coleridge: With an Introductory Essay Upon His Philosophical and Theological Opinions
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“When one makes sculptures of horses, one remembers all of that great relationship that humans had with them.....Even today one raises horses only for dressage, the races, for the pleasure of horseback riding. It has become an animal of romance, an animal of pleasure which has lost its utility in the West.”

HumansTodayRememberRomanceLostPleasureAnimalRaceHorseRaisesWestRidingSculptureUtilityGreat RelationshipHorsebackHorseback RidingDressage
Author:Joe Fafard
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“But once a culture develops sufficiently to become skeptical, the idea of censorship becomes less attractive. To suppress a book or a picture or a sculpture or a play or a film is a terrible act of aggression against the artist who created it. This is a miming of capital punishment; it destroys the life that has been emanated by a life.”

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Author:Rebecca West
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“By denying people's sense of visual beauty in painting and sculpture , melody in music , meter and rhyme in poetry , plot and narrative and character in fiction , the elite arts wrote off the vast majority of their audience . They purposely excluded people who approach art in part for pleasure and edification in favour of social one-upmanship and an ever-narrowing, in-crowd elite.”

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Author:Steven Pinker
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“Photography is unlike any other art form. In the other arts there is always a continuous interplay between the artist and his art. He has the painting or sculpture before him. What we have tried to do is to provide a medium for "artistic expression" to anyone with only a reasonable amount of time. By giving him a camera system with which he need only control his selection of focus, composition and lighting, we free him to select the moment and to criticize immediately what he has done. We enable him to see what else he wants to do on the basis of what he has just learned.”

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Author:Edwin Land
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“In truth, the best long-term explanations about our ancient counterparts can be found in the paintings, sculpture, crafts, tools of utility, language and architecture left behind. These are the building blocks of civilization we call culture. These are what we call 'the arts.”

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Author:Edward J. Fraughton
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“The only hope I had was when (in his youth)I saw one day a photograph of a sculpture by Wilhelm Lehmbruck, a German sculptor of expressionistic style. This was perhaps the only example, Lehmbruck, between my sixteenth to nineteenth years in which I saw a possibility for art to be principally of interest to innovate some things, instead of writing a very boring, naturalistic repetition of what is already done by nature.”

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Author:Joseph Beuys
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“When people say "How do you write a book, how does it all happen?" I say, you line things up, and you line them up as actually as you possibly can, but sooner or later the book has got momentum and it's moving along under that momentum. It's like a sculpture, if you're working with the grain of the wood, the wood will start defining what shape it's going to become.”

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Author:Terry Pratchett
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“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.”

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Author:Barbara Hepworth
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“Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).”

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Author:Jasper Johns
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“The ideal is to be obtained by selecting and assembling in one whole the beauties and perfections which are usually seen in different individuals, excluding everything defective or unseemly, so as to form a type or model of the species.”

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Book:The Vocabulary of Philosophy, Mental, Moral and Metaphysical: With Quotations and References; for the Use of Students
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“Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole.”

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Author:Richard Serra
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“The dust is old upon my "sandal-shoon," And still I am a pilgrim; I have roved From wild America to Bosphor's waters, And worshipp'd at innumerable shrines Of beauty; and the painter's art, to me, And sculpture, speak as with a living tongue, And of dead kingdoms, I recall the soul, Sitting amid their ruins.”

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Book:Sacred Poems
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“A statue lies hid in a block of marble, and the art of the statuary only clears away the superfluous matter and removes the rubbish. The figure is in the stone; the sculptor only finds it. What sculpture is to a block of marble, education is to a human soul. The philosopher, the saint, or the hero,--the wise, the good, or the great man,--very often lies hid and concealed in a plebeian, which a proper education might have disinterred, and have brought to light.”

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Book:The works of ... Joseph Addison, with notes by R. Hurd
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“Our respect for the dead, when they are just dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and black heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet grass; and last, and not least, we show it by permitting ourselves to tell any number of falsehoods we think amiable or credible in the epitaph.”

ThinkingWayStillsShowsLastsBeautifulDeathBlackNumbersHalfWonderfulSorrowQuietStonesHorseDressesGrassMidstFalsehoodSculptureFeathersSpoilCathedralsCredibleEpitaphAmiableVaults
Book:Works
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“Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.”

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Author:Susan Sontag
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“All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.”

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Book:A Pictorial Autobiography
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“Every day you have to abandon your past or accept it and then, if you cannot accept it, you become a sculptor.”

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Book:Louise Bourgeois: memoria y arquitectura : Museo Nacional Centro de Arte Reina Sofía, Madrid, 16 de noviembre de 1999-14 de febrero del 2000
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“If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.”

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Author:Richard Tuttle
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