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Sculpture Quotes

Quotes tagged equally "sculpture" Showing one-30 of 63

"Mathematics, rightly viewed, possesses non but truth, only supreme beauty—a dazzler cold and austere, like that of sculpture, without entreatment to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as but the greatest art can show."
― Bertrand Russell, A History of Western Philosophy

"Moonlight is sculpture; sunlight is painting."
― Nathaniel Hawthorne

"You must forget all your theories, all your ideas before the subject. What office of these is really your own will be expressed in your expression of the emotion awakened in you lot by the bailiwick."
― Henri Matisse

"Authors can write stories without people assuming that they are autobiographies, but songwriters and poets are oftentimes considered to be the characters in their works. I similar Michelangelo'south vision, 'I saw the angel in the marble and carved until I set him free."
― Criss Jami, Salomé: In Every Inch In Every Mile

"Stars are always dancing. Sometimes they dance twinkling abroad with the rhythm of your joyful eye and sometimes they trip the light fantastic without move to cover your heartache as if frozen sculptures of open up-armed sadness."
― Munia Khan

"Art-making is not about telling the truth only making the truth felt"
― Christian Boltanski

"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"
― Isak Dinesen

"Equally Henry Moore carved
or modelled his sculpture every twenty-four hours,
he strove to surpass Donatello

4. and failed, simply woke the adjacent morning
elated for another try."
― Donald Hall

"The tragic style of Aeschylus (I use the word "mode" in the sense it receives in sculpture, and not in the exclusive signification of the mode of writing,) is g, astringent, and not unfrequently hard: that of Sophocles is marked by the well-nigh finished symmetry and harmonious gracefulness: that of Euripides is soft and luxuriant; overflowing in his easy copiousness, he oft sacrifices the full general consequence to vivid passages. The analogies which the undisturbed development of the fine arts among the Greeks everywhere furnishes, will enable u.s.a., throughout to compare the epochs of tragic art with those of sculpture. Aeschylus is the Phidias of Tragedy, Sophocles her Polycletus, and Euripides her Lysippus. Phidias formed sublime images of the gods, only lent them an extrinsic magnificence of material, and surrounded their majestic tranquillity with images of the virtually violent struggles in strong relief. Polycletus carried his art to perfection of proportion, and hence one of his statues was called the Standard of Beauty. Lysippus distinguished himself by the burn of his works; but in his fourth dimension Sculpture had deviated from its original destination, and was much more desirous of expressing the charm of motion and life than of adhering to ideality of form."
― August Wilhelm Schlegel, Lectures on Dramatic Art and Literature

"Stones dream of shapes they might become. The sculptor has but to listen."
― Thurin-Jon (as quoted)

"All proficient work looks perfectly modern: a piece of Greek sculpture, a portrait of Velasquez—they are always mod, always of our time."
― Oscar Wilde, Lecture to Fine art Students

"If your educe sculpture to the flat aeroplane of the temporal experience of the work. (...) the feel of the work is inseparable from the identify in which the work resides. Apart from that condition, any experience of the work is a deception."
― Richard Serra

"And while I was going to meet
the flowers and sculptures of Montreux,
I smelled Lord Byron'southward ink
sweating an amazing darkness out
from the medieval body of Chillon Castle

From the poem - Along the Shore"
― Munia Khan, Fireclay

"Then I came back to philosophy, but differently; feeling it in myself, and in those I met in talk, a fever of the blood. I had come up to it as a boy from wonder at the visible earth; to know the causes of things; and to feel the sinews of my mind, equally one feels i'due south muscles in the palaestra. But now nosotros searched the nature of the universe, and our own souls, more like physicians in fourth dimension of sickness.

It was not that we were in love with the past. We were of an age to experience the nowadays our ain, and to suppose it would never outstrip us. In painting and sculpture and verse, the names nosotros grew passionate over looked to u.s.a. as big as those of Perikles' day, and it still half surprises me when I find them unknown to my sons. But we seldom stood to savour good work, equally one stands before a fine view or a flower, in elementary gladness that information technology is. Every bit we hailed each new artist we grew angry with the former ones, as with simulated guides nosotros had defenseless out; we hastened, though nosotros knew not where. To liberty, nosotros said; the sculptors no longer proportioned their forms by the Golden Number of Pythagoras, equally Pheidias and Polykleitos did; and fine art would do great things, we said, now it had cast off its bondage."
― Mary Renault, The Terminal of the Vino

"Artists are low fundamental astronauts.
Instead of going to the moon, they sit dorsum in their studio and make the moon."
― Michael Bassey Johnson, Song of a Nature Lover

"Simply the master crusade of the departure lies in the plastic spirit of the antique, and the picturesque spirit of the romantic poetry. Sculpture directs our attending exclusively to the group which it sets before usa, it divests it every bit 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 lite and shade with perspective are its peculiar charms. Hence the Dramatic, and peculiarly the Tragic Fine 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 than varied pictures. Or, to express myself in other terms, the principle of the antique poesy is ideal; that of the romantic is mystical: the former subjects space and fourth dimension to the internal free-agency of the mind; the latter honours these incomprehensible essences as supernatural powers, in which at that place is somewhat of indwelling divinity."
― Baronial Wilhelm Schlegel, Lectures on Dramatic Art and Literature

"Not simply is the art of the second one-half of the fifth century influenced by the same feel which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct result upon the outlook of the poets and artists. When nosotros come to the fourth century there is no branch of art in which their influence cannot exist traced. Nowhere is the new spirit more striking than in the new blazon of athlete which, with Praxiteles and Lysippus, now supplants the manly platonic of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of beingness dancers rather than athletes. Their intellectuality is expressed not simply 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 beingness is dynamically charged and full of latent forcefulness and movement. When you lot try to expect at them they volition non let 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 attribute to such a caste as to forcefulness the spectator to be altering his position constantly until he has been circular the whole effigy. He is thus made enlightened of the relativity of each single aspect, only 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 terminal traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his ain life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary fine art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the quondam aristocratic attitude towards life, with all its gravity and magnificence, considering they call back 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 human is the mensurate of all things."
― Arnold Hauser, The Social History of Fine art, Volume ane: From Prehistoric Times to the Middle Ages

"A tension develops betwixt what I want and what is emerging. This tension is important to the feeling of the piece."
― Andy Goldsworthy, Passage

"Sometimes I feel that the source of a sculpture'south free energy comes from the effort of trying to regain a sense of balance lost at some point when I lacked control or concentration or perhaps made an mistake of judgment.

Such moments happen all the time in the making of a sculpture. Not to experience uncertainty or to brand no mistakes would in a sense return the making of a sculpture pointless. Whatever new work should challenge my understanding of both how and why a sculpture should be made."
― Andy Goldsworthy, Passage

"Fearfulness e'er accompanies the making of art, generated by the daze of seeing an thought taking its grade. A sculpture in the listen is prophylactic and secure--the actual piece of work rarely behaves as intended."
― Andy Goldsworthy, Passage

"My fine art helps make sense of things."
― Andy Goldsworthy, Passage

"All probabilities have
stacked upwardly to this imminent form, and
all causes take aligned according to
this pathway and not another. I could
otherwise have been some other circuitous
of particles, another material birthday,
and perhaps likewise some other form, for how
much does the cloth influence the
fingers that shape information technology? Does the material
similarly shape the whims of its
sculptor?"
― Ashim Shanker, trenches parallax leapfrog

"Replicas of Kamasutra sculptures from Khajuraho, an inside joke because Neel loved to tease Nisha about honeymooning at the erotically carved caves, much to her horror. Yash certainly did non want their parents to know."
― Sonali Dev, Incense and Sensibility

"Sculpture isn't a thing you lot prepare out to do and succeed in. It's a thing that gets at you, that nags at you lot - and haunts you - so that you've got, sooner or later, to make terms with it. And and so, for a bit, you get some peace - until the whole thing starts once again,"
― Agatha Christie, The Hollow

"Riveting discoveries unfurl when one thinks the unimaginable, instead of imagining the unthinkable…for thought precedes imagination and sculptures credence for new ideas."
― Dr. Anhad Kaur Suri

"Fine arts are are considered as seven sisters named equally, Music, Sculpture, Literature , Drama, Architecture & Movie theatre. However in this digital historic period , another art is to exist considered.To-twenty-four hour period all seven fine art forms depend on photography for promotion, communication, documentation and survival. Photography should be called the eighth Fine Art."
― Biju Karakkonam, Nature and Wildlife Photographer

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