15 quotes
The search continues for the absolute model-form which shall do justice to every dimension without loss of inner force.
The Human Form: Sculpture, Prints, and Drawings (1977)
The hardness and immobility of material gave me more satisfaction tan true-to-life representations.
The Human Form: Sculpture, Prints, and Drawings (1977)
The material is destined, in the end, to remain a mere auxiliary, just good enough to enable stammering to become speech.
The Human Form: Sculpture, Prints, and Drawings (1977)
The power and force of stone reside in its mass, its weight, and its density.
The Human Form: Sculpture, Prints, and Drawings (1977)
Every magnitude, every dimension, requires a new configuration.
The Human Form: Sculpture, Prints, and Drawings (1977)
Measures, weights, proportions move and change in expression and meaning.
The Human Form: Sculpture, Prints, and Drawings (1977)
What nevertheless subsists is the desire of an absolute ideal form, a form which can adapt itself to any setting and to any scale.
The Human Form: Sculpture, Prints, and Drawings (1977)
There are laws which the stone imposes upon us.
The Human Form: Sculpture, Prints, and Drawings (1977)
At the present time the artists stands alone.. ..no ideology can be of help to him.
The Human Form: Sculpture, Prints, and Drawings (1977)
Culture can flourish only under the protection of a society with aristocratic characteristics.
The Human Form: Sculpture, Prints, and Drawings (1977)
A good piece of art must combine barbarism and culture: two unique elements...
The Human Form: Sculpture, Prints, and Drawings (1977)
Only a distinctive individual can produce great art. Great art is synonymous with anonymous art.
The Human Form: Sculpture, Prints, and Drawings (1977)
I am concerned with the figure.. .Equilibrium, unity.
The Human Form: Sculpture, Prints, and Drawings (1977)
Solidity, rigidity, what did not yield to the pressure of the hand attracted me.
The Human Form: Sculpture, Prints, and Drawings (1977)
Further working along the lines of experiments of 1954 [toward rounded forms and columnar figures], I executed the 'Figure with upraised arms' as the crucifix for a Parish church in Salzburg.
The Human Form: Sculpture, Prints, and Drawings (1977)