Art Quotes - page 96
When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.
Henry Moore
The conflict between the theories of Surrealism & pure abstraction leads many to look upon one as black & bad & the other as white & good. Yet it seems to me that a good work of art has always contained both abstract & surrealist elements – just as it has both classical & romantic elements (order & surprise?).. .Surrealism is widening the field of contemporary art & is giving more freedom to the artist (& perhaps what is not unimportant, – stretching the appreciation of the public). Abstraction is re-establishing fundamental laws; bringing back form to painting & sculpture. There are many products of surrealism which I personally dislike,.. ..but equally Unimportant to me are the empty decorations produced in the name of abstraction.
Henry Moore
Actually Rogers Fry's Vision and Design [1920] was the most lucky discovery for me. I came on it by chance while looking for another book in the Leeds Reference Library. Fry in his essay on 'Negro Sculpture' stressed the 'three-dimensional realization' that characterized African art and its 'truth to material'. More, Fry opened the way to other books and to the realization of the British museum. That was really the beginning.
Henry Moore
There is one quality I find in all the artists I admire most – men like Masaccio, Michelangelo, Rembrandt, Cézanne. I mean a disturbing element, a distortion, giving evidence of a struggle of some sort... Great Art is not Perfect. Here the disturbing element comes in. It is instructive to know that Rembrandt copied Mantegna, whose art is the extreme opposite of his own. Why did he do so? Because he was conscious that his own art lacked the classical element. He was aware of the opposite, and that makes him greater.
Henry Moore
Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself...
Henry Moore
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.
Henry Moore
No, I think Abstract art is valuable. It teaches people the language of painting. In my own work I have produced carvings which perhaps might see to most people purely abstract. This means that in those works I have been mainly concerned to try to solve problems of design and composition. But these carvings have not really satisfied me because I have not had the same sort of grip or hold over them that I have as soon as a thing takes on a kind of organic idea. And in almost all my carvings there has been an organic idea in my mind. I think of it as having a head, body, limbs..
Henry Moore
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.
Henry Moore
The subconscious plays a great part in art, that is to say that in conceiving & realizing a work a great deal happens which cannot be logically explained – the mind jumps from one stage to another much further on without there being traceable steps shown between – sudden solutions which cannot be followed step by step – in a word – inspiration.
Henry Moore
The distinguishing quality of most primitive art is the intense vitality which it possesses, because it has been made by a people in close touch with life, who felt simply and strongly, and whose art was a means of expressing vitally important beliefs, hopes and fears. Negro sculpture is essentially religious and cannot be detached from the tribal gods, priests and ancient rituals. When civilization destroyed these things, it also destroyed their Art. These carvings have a serious and pathetic power – a bigness and monumental simplicity born of the racial patience in bearing life with all its terror and mystery.. ..(But as always, it was the artist who was the first to see in them a new thing – a new plastic conception – an artistic worth – a value as art – their importance as art).
Henry Moore
I feel the conflict still exists in me – but not causing me any difficulty in working, as it did immediately after returning from Italy [in 1925]. In fact I ask myself is this [the] conflict what makes things happen? For it seems to me now that this conflict between the excitement & great impression I got from Mexican sculpture & the love & sympathy I felt for Italian art, represents two opposing sides in me, the 'tough' & the 'tender', & that many other artists have had the same two conflicting sides in their natures.. ..and really I see no difficulty in appreciating both sides & finding them in the same artist. Perhaps an obvious & continuous synthesis will eventually derive in my own work – I can't say – I can only work as I feel & believe at the time I do the work.
Henry Moore
Germany appeared in my eyes a very tiny portion of the earth. I had emerged from abstract Mysticism, and I learnt a love for Matter. Beauty of material and brilliancy of wit were lordly things to me: as regards my beloved music, I found them both among the Frenchmen and Italians. I forswore my model, Beethoven; his last Symphony I deemed the keystone of a whole great epoch of art, beyond whose limits no man could hope to press, and within which no man could attain to independence.
Richard Wagner
No work which is destined to become a classic can look like the classics which have preceded it. In art, as in biology, there is heredity but no identity with the ascendants. Painters inherit characteristics acquired by their forerunners; that is why no important work of art can belong to any period but its own, to the very moment of its creation. It is necessarily dated by its own appearance. The conscious will of the painter cannot intervene.
Juan Gris
Were we required to characterise this age of ours by any single epithet, we should be tempted to call it, not an Heroical, Devotional, Philosophical, or Moral Age, but, above all others, the Mechanical Age. It is the Age of Machinery, in every outward and inward sense of that word; the age which, with its whole undivided might, forwards, teaches and practises the great art of adapting means to ends. Nothing is now done directly, or by hand; all is by rule and calculated contrivance. For the simplest operation, some helps and accompaniments, some cunning abbreviating process is in readiness. Our old modes of exertion are all discredited, and thrown aside. On every hand, the living artisan is driven from his workshop, to make room for a speedier, inanimate one. The shuttle drops from the fingers of the weaver, and falls into iron fingers that ply it faster.
Thomas Carlyle
The latest Gospel in this world is, Know thy work and do it. 'Know thyself:' long enough has that poor 'self' of thine tormented thee; thou wilt never get to 'know' it, I believe! Think it not thy business, this of knowing thyself; thou art an unknowable individual: know what thou canst work at; and work at it, like a Hercules! That will be thy better plan.
Thomas Carlyle
It lies deep in our habits, confirmed by all manner of educational and other arrangements for several centuries back, to consider human talent as best of all evincing itself by the faculty of eloquent speech. Our earliest schoolmasters teach us, as the one gift of culture they have, the art of spelling and pronouncing, the rules of correct speech; rhetorics, logics follow, sublime mysteries of grammar, whereby we may not only speak but write. And onward to the last of our schoolmasters in the highest university, it is still intrinsically grammar, under various figures grammar. To speak in various languages, on various things, but on all of them to speak, and appropriately deliver ourselves by tongue or pen,-this is the sublime goal towards which all manner of beneficent preceptors and learned professors, from the lowest hornbook upwards, are continually urging and guiding us.
Thomas Carlyle
Shall we say, for example, that Science and Art are indebted principally to the founders of Schools and Universities? Did not Science originate rather, and gain advancement, in the obscure closets of the Roger Bacons, Keplers, Newtons; in the workshops of the Fausts and the Watts; wherever, and in what guise soever Nature, from the first times downwards, had sent a gifted spirit upon the earth? Again, were Homer and Shakspeare members of any beneficed guild, or made Poets by means of it? Were Painting and Sculpture created by forethought, brought into the world by institutions for that end? No; Science and Art have, from first to last, been the free gift of Nature; an unsolicited, unexpected gift; often even a fatal one.
Thomas Carlyle
