„I believed before that (journey to Italy in 1875)… that movement was the whole secret of this art, and I put my models into positions like those of Michael Angelo. But as I went on observing the free attitudes of my models I perceived that they possessed thèse naturally^ and that Michael Angelo had not preconceived them, but merely transcribed them according to the Personal inspiration of human beings moved by the need of action. I went to Rome to look for what may be found everywhere : the latent heroic in every natural movement.“

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— Auguste Rodin

Origine: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65

Estratto da Wikiquote. Ultimo aggiornamento 14 Settembre 2021.

Auguste Rodin5

scultore e pittore francese 1840 - 1917

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„I used to worship the mighty genius of Michael Angelo — that man who was great in poetry, painting, sculpture, architecture — great in every thing he undertook. But I do not want Michael Angelo for breakfast — for luncheon — for dinner — for tea — for supper — for between meals. I like a change, occasionally.“

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— Mark Twain, libro The Innocents Abroad

Origine: The Innocents Abroad (1869), Ch. 27

„Enough, enough, enough! Say no more! Lump the whole thing! say that the Creator made Italy from designs by Michael Angelo!“

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— Mark Twain, libro The Innocents Abroad

Origine: The Innocents Abroad (1869), Ch. 27

„Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.“

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— Auguste Rodin French sculptor 1840 - 1917

Rodin on realism, 1910

„Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.“

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— Auguste Rodin French sculptor 1840 - 1917

Origine: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

„The source of my work is nature. I use it with respect and freedom. I use materials, ideas, movement and time to express a whole view of my art in the world.“

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— Richard Long artist 1945

Richard Long (1982), cited in: Description of the exhibition Concentrations IX: Richard Long, March 31–July 8, 1984 at the Dallas Museum of Art http://texashistory.unt.edu/ark:/67531/metapth224905/m1/1/.
1980s

„I was born in New York, then I went to the UK, then I went to Brazil, then I went to France, then I studied in Italy. My life was always about being confronted with an environment where you had to adapt.“

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— John Elkann Italian businessman 1976

"Unlikely heir who saved the family jewels" http://www.ft.com/cms/s/0/0693507a-4830-11e0-b323-00144feab49a.html#axzz1GZU7VVRA, Financial Times, 03-06-11

„An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth.
When a good sculptor models a torso, he not only represents the muscles, but the life which animates them — more than the life, the force that fashioned them and communicated to them, it may be, grace or strength, or amorous charm, or indomitable will.
In the works of Michael Angelo, the creative force seems to rumble; in those of Luca della Robbia it smiles divinely. So each sculptor, following his temperament, lends to nature a soul either terrible or gentle.“

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— Auguste Rodin French sculptor 1840 - 1917

Origine: Art, 1912, Ch. Mystery in Art, p. 178

„I want to be free Michael, just for once in my whole life I want to be free"

"You are free. You just don't know it yet“

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— Francine Rivers American writer 1947

Origine: Redeeming Love

„I haven't really touched machinery except for a few elementary mechanisms like levers and balances. You see nature and then you try to emulate it. But, of course, when I met Mondrian [Paris, 1930] I went home and tried to paint [for a while]. The basis of everything for me is the universe. The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them. My whole theory about art is the disparity that exists between form, masses and movement. Even my triangles are spheres, but they are spheres of a different shape.“

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— Alexander Calder American artist 1898 - 1976

Question, Which has influenced you more, nature or modern machinery?
1950s - 1960s, interview with Alexander Calder', (1962)

„I was born near a station. The first things that I saw in my life were the moving locomotives and trains, and I drew them as a three-year-old. Perhaps it is because of this that observations of movement are my impetus for my inspiration to create. Out of this I receive a creative experience of life, which is the source of creativity.“

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— Ernst Ludwig Kirchner German painter, sculptor, engraver and printmaker 1880 - 1938

Kirchner had been inspired by movement and trains his whole life. He painted a. o. 'Nollendorfplatz' in West Berlin https://commons.wikimedia.org/wiki/File:Ernst_Ludwig_Kirchner_-_Nollendorfplatz.jpg - it was one of the stops on the first electrical tram (Straßenbahn) in 1896, according to 'Lexicon der Berliner Stadtentwicklung'. Berlin, 2002. The Underground (Untergrundbahn) followed in 1902, also with a stop at 'Nollendorfplatz'
undated
Origine: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 17 (transl. Claire Albiez)

„Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.“

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— Willem de Kooning Dutch painter 1904 - 1997

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

„There was a lot of revision that went into [making] the [Wind] sculptures, [c. 2009 - meant as her response to the death of Michael Jackson which she admired]. It might look like I just went in the gallery and they just went up – just like that – but it was not like that. It was really a long process to get the things to look the way they do, to have that balance especially in relation to what I already said about minimalism, and to also have this light touch to them.“

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— Isa Genzken German sculptor 1948

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

„I learned my trade by going out every evening as a young man," he told art historian Rosamond Bernier. "I went to every pretty house in France and Italy and other places too, and I remembered them all, even down to what was on each little table.“

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— Vincent Fourcade French artist 1934 - 1992

"Vincent Fourcade - CELEBRATING THE PLEASURES OF MAGNIFICENT EXCESS", by Mitchell Owens, Architectural Digest, January 2000, v. 57 #1, p. 169 – one of twenty five persons named by the magazine "Interior Design Legends".

„I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.“

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— Raymond Chandler, libro Farewell, My Lovely

Origine: Farewell, My Lovely (1940), chapter 34

„The Natural History Museum is open to the public on Tuesdays and Fridays. Elephant, rhinoceros, hippopotamus; extraordinary animals! Rubens rendered them marvellously. I had a feeling of happiness as soon as I entered the place and the further I went the stronger it grew. I felt my whole being rise above commonplaces and trivialities and the petty worries of my daily life.“

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— Eugène Delacroix French painter 1798 - 1863

19 January 1847 (p. 55)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

„In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.“

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— Barbara Hepworth English sculptor 1903 - 1975

Origine: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 285

„As for me, seeker after truth and student of life as I am, I shall take care not to follow their example. I take from life the movements I observe, but it is not I who impose them.
Even when a subject which I am working on compels me to ask a model for a certain fixed pose, I indicate it to him, but I carefully avoid touching him to place him in the position, for I will reproduce only what reality spontaneously offers me.
I obey Nature in everything, and I never pretend to command her. My only ambition is to be servilely faithful to her.“

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— Auguste Rodin French sculptor 1840 - 1917

Origine: Art, 1912, Ch. I. Realism in Art, p. 30

„On November 8, the feast of Saints Archangels Michael and Gabriel, we were discussing the possible name for this youth organization. I said: "Let it be 'Michael the Archangel'." My father said: "There is in the church, on the left hand door of the altar, an icon of St. Michael." "Let us go see it!" Mota, Garneata, Corneliu Georgescu, Radu Mironovici, Tudose and I went to look at it and we were truly amazed. The icon appeared to us of unsurpassed beauty. I was never, attracted by the beauty of any icon. But now, I felt bound to this one with all my soul and I had the feeling the Archangel was alive. Since then, I have come to love that icon. Any time we found the church open, we entered and prayed before that icon. Our hearts were filled with peace and joy.“

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— Corneliu Zelea Codreanu Romanian politician 1899 - 1938

For My Legionaries: The Iron Guard (1936), The Legion

„Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality.“

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— Henri Matisse French artist 1869 - 1954

"Interview with Henri Matisse" by Jacques Guenne, L'Art Vivant (15 September 1925), translated by Jack Flam in Matisse on Art (1995)
1921 - 1940
Contesto: Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say.

„I went back to those graves not long afterward and found as I stood there that sadness was a very heavy thing. My body weighed twice what it had only a moment earlier, as if those graves were pulling me down toward them.“

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— Arthur Golden, libro Memorie di una geisha

Origine: Memoirs of a Geisha

Auguste Rodin5

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