Sculptors

"..you see they hung my painting here [on her show 'Wind', 2009] I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter [till 1993], and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called 'Basic Research', they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. [[w:Gerhard] Richter|[Gerhard] Richter]] put one up in his studio for some time.. .But he found it too hard and then took it out after a while."

"they [her two shows in 2009] are so different, and actually it was a lot of work to make those two shows – I have never done that, two shows simultaneously. I worked on them for a whole year. It was very hard, because I was trying to get this balance between minimalism and something else beyond that – in dialogue with Minimalism, but with content. That was always the thing with minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this, right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like minimalism, but in the end there is a lot going on there."

"I had been born in an Earthly Paradise [in Tuscany, Italy] from which we all have expelled. Not so long ago a sculptor could still be content with a search for full, sensual and vigorous forms. But in the past fifteen years [1943 – 1958], nearly all our new sculpture has tended to create forms that are disintegrating."

"But I am no longer trying to formulate a stylised version of anxiety such as we find in the Laocoon group and in so many other sculptures of the Silver Age of antiquity. I feel that these works are always a bit too melodramatic. If you really want to find the sources of my present style [1958] in antiquity, I must confess that you will find them in the remains of the life of the past rather than in those of its art. The fossilized corpses that have been unearthed in Pompeii.. ..if the whole earth is destroyed in our atomic age, I feel that the human forms which may survive as mere fossils will have become sculptures similar to mine."

"Machines change their style so rapidly. If one tries to reproduce them in art as realistically as man and the horse in classical art, one immediately lapses into a kind of anecdotic or documentary art.. .Only the stylisation of a painter like Leger could integrate the machine as the subject matter of art. Here in Italy, the futurists, before 1914, attempted a similar integration of the machine.. ..César [French sculptor, in the generation of Marini] creates with elements borrowed from industry and the world of machines, sculptural fossils that appear to have survived the same kind of catastrophe as my own figures. But I would like to show you [ interviewer w:Eduard Roditi now in my studio my latest fossils.."

"it belongs to the highest levels of modern art, when they [the early Etruscan sculptors, very inspiring for Marini] found their images and their forms from basic mythical experiences.. ..he [Marini] tried to imitate their gestures to explain what he meant, then he became one with his creatures, belonging at once to this particular progeny of remote origin."

"My equestrian figures are symbols of the anguish that I feel when I survey contemporary events. Little by little, my horses become more restless; their riders less and less able to control them. Man and beast are both overcome by a catastrophe similar to those that struck Sodom and Pompeii. So I am trying to illustrate the last stages of the disintegration of a myth, I mean the myth of the individual victorious hero, the 'uono di virtù' of the humanists.."

"Until the end of the fascist era and of the war [World War 2.], I continued to hark back to the sober realism [in his human figure sculptures, then] of the artists of the Etruscan funerary figures, or the sculptors of some Roman portraits, especially the earlier ones. My own way of reacting against the imperialist pathos of official Fascist art continued, until 1944, to consist in identifying my art very consciously with my private life, so that I never allowed myself any form of expression that might seem too blatantly public."

"Why should I and other sculptors.. .I know Marino Marini feels it – find this work ['the Rondanini Pietà' of Michelangelo] one of the most moving and greatest works we know of when it's a work which has such disunity in it?"

"I am no longer seeking, in my own equestrian figures, to celebrate the triumph of any victorious hero. On the contrary, I seek to commemorate in them something tragic – in fact, a kind of 'Twilight of Man', a defeat rather than a victory. If you look back on all my equestrian figures of the past twelve years [between 1946 – 1958] you will notice that the rider is each time less in control of his mount, and that the latter is each time more wild in its terror, but frozen stiff, rather than reared or running away. All this is because I feel that we are on the eve of the end of a whole world."

"There is an intimate relationship between my pictorial [2-dimensional] and my sculptural work. I would never begin on a sculpture without first gaining an idea of the colour.. .My mind is captivated by this task until I start to put down the colour on paper and imagine that this colour will become a drawing. And then, suddenly, the drawing begins to acquire shape, the shape, and this shape becomes the real shape."

"My 'Pomone' live in a bright world, with their sunny disposition, full of humanity, of abundance, and of great sensuality. they represent a happy season that breaks the tragic time of war. in all these images, femininity is enriched with all its past meanings, those most inherent, most mysterious: a sort of unavoidable necessity, of unmovable stillness, of primitive and unconscious fertility. The figure, the statue, instead demands a wider research of shapes, of lines, of bodies. My women, that some find awkward, respond to this preoccupation. In the figure, I propose to myself to deepen the way I play with volume in a togetherness that is always more united, more steady, yet also free and nimble. But this research on volume is not the only premise of the sculptor, who need not ever forget what moves most in a sculpture is always its inspiration."

"My equestrian statues express the torment caused by the events of this century. the restlessness of my horse increases with each new work, the rider is always more exhausted, he has lost his domination of the beast and the catastrophes to which he succumbs resemble those that destroyed sodom and pompeii. I aspire to make visible the last stage of destruction of a myth, of the myth of heroic and victorious individualism, the humanists' man of virtue. my work in the last years doesn't want to be heroic, but tragic."

"We must enter into the spirit of the character [for making a portrait]: here the challenge is to place this figure in the human space, to work out what he represents in relation to other people, other human personalities; when you've worked this out, you're done. this truth has to stand out in the end result of the portrait.. ..when this task is complete, and the subject is placed in the realm of the dead that go on living, I hand over my work."

"Equestrian statues have always served, through the centuries, a kind of epic purpose. They set out to exalt a triumphant hero, a conqueror like Marcus Aurelius.. .In the past fifty years, this ancient relation between man and beast has been entirely transformed. The horse has been replaced, in its economic and its military functions, by the machine, by the tractor, the automobile or the tank."

"The Romantic painters were already addicted to a cult of the horse as an aristocratic beast.. ..From Géricault and Constantin Guys [both Romantic French painters] to Degas and Dufy, this cult of the horse found its expression in a new attitude towards sport and military life.. .In Odilon Redon’s visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths."

"I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young German artists, their paintings were demonstrative figuration, while my work was more lyrical and Cubist, based on still life. None of the curators of the exhibitions at the time knew what to do with it. I could see that they almost wished I’d just withdraw. But it’s an outsider position with which I’ve been really comfortable. I was able to extend myself within my own thing, which wasn’t very successful internationally. My work was not punchy enough. I succeeded in constantly evading branding. My history with Fluxus is actually quite funny. I went to New York in 1966 as a relatively young man, wanting to meet all these artists. Denmark was extremely small and stuffy. In high school I had discovered something called Jackson Pollock, and I was furious that no one had told me about this before.. .I was calling around, saying, 'Hello, I’m a Danish artist. I would like to meet you.'"

"..I also got to meet w:George Maciunas, the father of Fluxus. I wanted to know what this Fluxus was, so I asked him, 'If I put salt in a tea bag and then into hot water, then the salt will dissolve, and when you pull the bag up, there is nothing in it. Is that Fluxus?' 'Let’s make that one right away,' Maciunas replied. And it became a Fluxus object. I told him that I was a painter and that I would keep painting. 'Well,' he said, 'that doesn’t matter, as long as you do it the right way.' Getting to know him, I understood that the right way was with a certain sense of justice."

"Like Willem de Kooning, Kirkeby is a virtuoso at creating unity from.. ..visual chaos.. .We Americans tend to think that Abstract Expressionism is a style of the past, dependent upon a worldview that no longer commands assent. And we have become suspicious of painterly virtuosity. This exhibition shows that we are wrong - Kirkeby’s splendid paintings demonstrate that Abstract Expressionism is a living tradition."

"But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do."

"I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture."

"it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing [in his paintings].. ..apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter."

"To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.' But the moment they are out the door I start working on it. I rework it."

"At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.. ..The black Masonite [board, Kirkeby used to underlayment for his painting].. ..by not painting them black and instead making them beautiful, I’ve wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that’s how you need to be when you get old. I call it the arrogance of age: You don’t need recognition. You just don’t care."

"A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can’t just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they’re doing."

"Landscapes are about beauty and death. The only way you can define beauty.. ..is to know that death is hiding behind it. This is what haunts you when you’re doing a so-called landscape painting. -"

"What I am after is 'bravura, an attempt to do something beyond the truth'.. .I do not seek truth before bravura, I seek it on the other side. Naturally it is a basic risk to run, the internal insecurity, where nothing is measurable, no solid standard exists any longer, and one can hardly discern the difference between commercial bravura and true trapdoor, but it is the only way of escaping good taste and narrow certification. The light of ambivalence is a heavenly one."

"I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life.."

"The themes of childhood, love and joy underlie the works of both Claudel and Maillol – and like Claudel Maillol retained his purity of soul and his clarity of vision during his troubled years."

"[Maillol] represents plastic form in its essential massiveness, to allow it to stand resolutely and assertively in space. A torso by Maillol is a palpable reality; we may apprehend it visually, but the eye is not.. ..flattered."

"Like Claudel, Maillol has experienced doubt and despair and bitter disillusion.. ..but we who admire his works today forget the toil and suffering.. ..when we are in front of a piece of his work, we seem to share the.. ..joy which inspired his fingers when they touched the clay or the chisel."

"These archaic ideas, Greek, were the great novelty Maillol brought into the tendency of modern sculpture. What you need to love from the ancients is not the antiquity, it is the sense of permanent, renewed novelty, that is due to the nature and reason."

"Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off."

"For my taste, sculpture should have as little movement as possible. It should not fall, and gesture, and grimace, and if one depicts movement, grimaces come too easily. Rodin himself remains quiet; he puts movement into his rendering of muscles, but the whole remains quiet and calm."

"The more immobile Egyptian statues are, the more it seems as if they would move.. ..immobility of the body does not mean immobility of the flesh; in my model for the monument to Cézanne the whole figure is quiet, but there are several movements in the torso."

"w:Donatello's art does not come out of nature, it belongs to the studio. He exaggerates to make it lifelike. His weeping children grimace frightfully.. .When movement is excessive it is frozen: it no longer represents life."

"When Picasso does pure painting he is a great artist. When he paints as an cubist, putting one tone next to another, the arrangement of planes is fine and the result very strong. But those who imitate him achieve nothing worthwhile."

"Negro art contains more ideas than Greek art. Its strange inventiveness of form is astonishing, and its imagination and extraordinary sense of decoration are difficult to explain. We dare not take such liberties; but the Negroes have succeeded. We are too much the subjects of our own past.."

"The immobility that the artist creates is not at all that of the photograph. A worth of art contains latent life, possibility of movement; a grimace made eternal does not represent life. One always talks of w:Donatello, but never of della Quercia. Yet della Qercia invented w:Michelangelo’s style before Michelangelo."

"Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture."

"Those who do Negro-sculpture in this country are wrong. We are in France; in the country of Ronsard, La Fontaine, and Racine. What connection is there between this country and these men, and Negro sculpture? An artist can only create in accordance with the character of his people and his time."

"I make [figures] in which I try to give an impression of the whole."

"A [figure] interests me when I can bring architecture out of it."

"Art is complex, I said to Rodin, who smiled because he felt that I was struggling with nature.. ..the beauty of Rodin’s art is.. ..in the thoughts he embodied. As for me, I just take a walk on the beach. A young girl appears. From that girl walking there emanates a soul. That is That is at I want to give my statue, that thing alive, yet immaterial. In composing the figure of one young girl I must give the impression that there are all young girls. From the spirit, my feeling passes into my fingers"

"The particular does not interest me; I find meaning only in a general idea. In Michelangelo one is carried away by the idea of power, the whole single-minded concept he imposed on himself. The 'Slaves' and the 'Medici tombs' are sculpture made to be seen only from one side. For me, sculpture means the block; my figure of 'France' has more than twenty different sides. When I enlarged it only four were left, and I had to rework it.."

"My sculpture is altogether different from Rodin’s.. ..In sculpture he [Rodin] always sees the flesh first. [answering his critics]"

"The first thing that strikes [one] in Cézanne is not apples, but balance of tones. With elements drawn from nature, what did [Cézanne] attempt? To create, to arouse powerful feeling, to awaken in the hearts of men that which is eternal in men."

"I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions.. .The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft."

"He [ Renoir; Maillol made his bust] was very interested, watching me do his bust. He said to me: 'Every time you touch it, it becomes more alive.'"

"Mademoiselle, I am told that you look like a Renoir and Maillol [as a model]. I would be happy with a Renoir."