Sculptors from Italy

"Dico, che l'arte della Scultura infra tutte l'arte, che s'interviene disegno, è maggiore sette volte, perchè una statua di Scultura deve avere otto vedute, e conviene che la sieno tutte di egual bontà."

"La Pittura non è altro, che o albero o uomo o altra cosa, che si specchi in un fonte. La differenza, che è dalla Scultura alla Pittura è tanta, quanto è dalla ombra e la cosa, che fa l'ombra."

"Quando il povero dona al ricco il Diavolo se ne ride?"

"Dissi, a quelle parole, che gli uomini che volevan fare a lor modo, bisognava che si facessino un mondo a lor modo, perché in questo non si usava cosí."

"Sí che vegga il mondo, quando la fortuna vuol torre a 'ssassinare uno uomo, quante diverse vie la piglia."

"Gli è ben vero che si dice Tu imparerai per un'altra volta: questo non vale perchè la vien sempre con modi diversi e non mai immaginati."

"Tutte le opera, che si veggono fatte dallo Iddio della Natura in cielo ed in terra, sono tutte di Scultura."

"Immaterial sculpture is not seen with the eyes but with the heart."

"The void, only apparent, is actually imbued with life and sacred mystery. Divine energy has made the void a manifest work, and from the void everything has come."

"Just the title, a soft light and the total absence of any physical intervention on the wall are already an immense presence."

"Will the concept of the Sacred exist in some planet of another galaxy where, by now it is certain, thousands of worlds preserve some form of life?"

"We are living in a moment in which our physicality, our being there is replaced by our virtual images and our voice, even this impalpable. Our being flesh and blood has to deal with the absence that is the true presence in these times [referring to his 'I Am', The invisible sculpture, Garau make in 2021 during Covid19 era."

"The vacuum is nothing more than a space full of energy, and even if we empty it and there is nothing left, according to the Heisenberg uncertainty principle, that nothing has a weight. Therefore, it has energy that is condensed and transformed into particles, that is, into us."

"What is the problem? If someone goes to bed with your wife you get angry, but if you go to bed and you agree, the question is resolved. [...] If the works have been made available by the authors themselves. It's all linear. If anything, it will be a question of understanding what the product of this union is. On the other hand, it would be artistically serious if one intervened on a work without the author's consent. In practice it is unthinkable that this operation will be done on a work of the sixteenth century, just to understand. (Vittorio Sgarbi)"

"This cosmic character of Salvatore Garau's figurative world, this emotionalized universalism links his aesthetics with the tradition of romanticism, especially of romantic landscape painting, in which imposing natural phenomena are interpreted as a metaphor for the cosmos and the metaphysical hierarchy of existence. (Lóránd Hegyi)"

"Triumph of immediacy, aesthetic enjoyment, power of color, free spontaneity, a call to something gigantic, powerful, improbable, to something absent but substantial; this is what manifests itself in the new, small, enigmatic sheets that Salvatore Garau dedicated to Richard Wagner. The movement of the stripes of color - pulsating, restless, unpredictable, paths of unstoppable energies and tensions - suggest wind and flames, bodies that contort and interpenetrate, full of power and sensual force [...] seductive and disturbing are not however dedicated only to Richard Wagner [...] features that are not secondary to understand his poetics, in which an obsessive monochromatism, made up of shades of red, seems to evoke the spirit of the mythical struggles of the heroes of Wagner. (Lóránd Hegyi)"

"Salvatore Garau's canvases open onto a gigantic scene, an unlimited horizon that becomes the scene of majestic and impressive events ... We are confronted with an unknown energy. (Lóránd Hegyi)"

"They are powerful signs, those that Garau wanted to paint. They are the reconnection of a tradition that has its roots in the best Renaissance and even earlier in Italian sacred art but revisiting it in a contemporary, not to say futuristic, key. They are a reflection on what the transcendent is: on this or other planets, even if there were other intelligences, the question of what is not visible would still arise. It is the attempt of art to suggest more than answers, the eternal questioning."

"My relationship with Italy is really a relationship of memory... of colors and shapes whose roots are in my childhood. I am convinced that anyone raised in Italy has unconsciously received a very incisive visual education. Having constantly been exposed to artistic masterpieces of incredible beauty, one implicitly receives an education in taste that remains unmatched."

"I believe that design is a [...] method usually means only the industrial one, so I wonder how to consider the Etruscan statues? there are millions in the world, there are museums full [...] but how did they manage to produce them? And they are all original Etruscan! So why shouldn't we consider them design?"

"He is an architect, designer and sculptor. How would you define yourself? In the meantime, I am a convinced materialist [...] look that it is not thought that uses matter to express itself, it is matter that uses thought. If you do not know the matter you cannot speak of spirit."

"The Virtual Reality is yes the continuation of reality, but sometimes you can no longer understand what you are talking about in a pink, yellow or green thing, it is so devitalized."

"In my projects, I have always tried to make people's needs participate in the definition of the work. I would say that the fundamental starting point for designing a design object lies in the usefulness it has for people. An object that is not born of a necessity cannot even be considered as belonging to this category, design."

"Let's start together, you with the computer I at Hand [...] he hadn't started yet while I had already finished, and it was a very simple thing [...] the younger and more skilled they are, the less they have interest in drawing in Hand. I believe that today with information technology, you have great means at your disposal, of course there are databases left, it is not from there that a project comes out; culture is something else ... the risk is the loss of the gesture"

"My works have always been born from the interest, the curiosity, that I have for the material and the possible ways of working it; and then find solutions often even at the limit, I would say. It is always necessary to pay close attention to the choice of materials with which an object will be made, since a relationship with the form is always very delicate. Technological innovation represents one of the fundamental aspects for the designer's work, but it must not lead to the exasperation of the technique at the expense of other aspects."

"Angelo Mangiarotti is an absolutely original author of international architecture, one of the few Italian masters (such as Ponti, Nervi and Piano) able to export his own idea and project philosophy. architecture, engineering, design and art, thanks to its ability to dialogue with these normally distant disciplines - The profound sense of ethical values, civic commitment and moral rigor with which to feel every gesture of the profession make us Angelo Mangiarotti a rare example; unique designer in his being an architect, designer and sculptor at the same time. (Beppe Finessi)"

"Gualtiero Galmanini"

"Pierto Portaluppi"

"Angelo Mangiarotti"

"Sequels are always made for purely commercial reasons, i.e. to allow producers to make more money. However, they are extremely damaging to an artist's career."

"Gossip only lasts a few days, it dies down very quickly and the truth prevails once again."

"(About the reasons for her marriage to Milko Skofic) Well, there was a reason... I had a misadventure, like many women. There was a wretch who took advantage of me, a footballer from Lazio. He drugged me, I was a virgin... What was I going to report him for? In those days... Now he's dead. I tried to convince myself that nothing had happened, but you don't forget something like that. Afterwards, I got together with Milko. It wasn't that he wanted to marry me, I wanted to, to have a normal life, I felt ruined... It was certainly a marriage of convenience on his part. He played tennis and counted money, that's all he did. When it became legal to do so, I divorced him."

"[Which recognition do you value most?] The four stamps that San Marino had printed with my face on them. It's a privilege reserved for kings and queens."

"I wasn't passionate about cinema. I did it to help my family. We were displaced in Rome and needed to eat. Those were the years when actors were picked up off the street. Some people stopped me as I was leaving school and asked me if I wanted to be in films, and I said no, that I wasn't interested. Then they offered me a thousand lire a day, and that convinced me to become an actress."

"(About acting) I think a little training is good, but I also believe that instinct is what wins out."

"There is less emotion in cinema today. There are stories that unfold in a setting of absolute futurism, and when I see them, I change the channel. In Italian cinema, when it was number one in the world, and that's what I was lucky enough to do, there was more emotion. People would watch a film and identify with it, they would cry and get emotional. There was something in the films that touched our emotions."

"A beautiful woman, even at seventy, is a beautiful woman, damn it, and if she has talent, you have to admit it, not despise the beautiful woman."

"What makes me angry is that they have always tried to take something away from women, and this continues today. It is always men who move forward and women who are always one step behind, and this is not fair. We should have a little equality."

"(About Marilyn Monroe) When we met, the first thing she told me was that they called her the American Gina Lollobrigida. She was surprisingly modest, and I immediately liked her."

"She makes Marilyn Monroe look like Shirley Temple."