Sculptors From France

"Ch. VIII Mystery in Art, p. 179-180"

"When I was quite young, as far back as I remember, I drew, but the gift is nothing without the will to make it worth while. The artist must have the patience of water that eats away the rock drop by drop."

"Michelangelo, revealed me to myself, revealed to me the truth of forms. I went to Florence to find what I possessed in Paris and elsewhere, but it is he who taught me this."

"My principles are the laws of experience."

"I am not a rhetorician, but a man of action."

"The streets of Paris, with their shops of old furniture, etchings, and works of art, are a veritable museum, far less tiring than official museums, and from which one imbibes just as much as one can."

"Admiration, is a joy daily kindled afresh... I talk out of the -fullness of life; it belongs to me in a sense larger than that of ownership."

"Were this thoroughly understood, industrial art would be entirely revolutionized — industrial art, that barbarous term, an art which concerns itself with commerce and profit."

"I am pervaded by the marvel of this art; but I cannot as yet explain it to myself. The Gothic is the world foreshortened. Where am I to begin? For more than thirty years I have been accumulating and comparing my observations. Perhaps eventually I shall succeed in deducing the rule, the law of divine intelligence; but perhaps I shall not have sufficient time. Then it will be the task of another, younger than myself, who will start his researches earlier, and who, besides, will have been informed by me."

"Take more room, examine my 'Gate' from a little farther off, and you will see once more the effect of the whole — the effect of unity which charms you when it is deprived of its ornamentation. You must understand that my sculpture is so calculated as to melt into the principal masses. For that matter, it completes them by modeling them into the light. The essential designs are there: it is possible that in the course of the final work I may find it necessary to diminish such or such a projection, to fill out such or such a pool of shadow; nevertheless, leave this difficulty to my fifty years of artisanship and experience, and you may be sure that quite by myself I shall find the best way of finishing my work."

"Yes, they are beautiful... The shirt, the blouse are garments the folds of which yield simple planes and effects that, rightly rendered, are those of true sculpture. But there is something better still, and that is sackcloth. If I had clothed my 'Burghers of Calais' in sackcloth, they would certainly be more beautiful. I did not dare to. Some one else will do this and will succeed. It is sufficient to express an idea and leave it to its destiny."

"One can never do anything so beautiful as nature."

"I sacrificed to the mania of the age, which is to overload things. My modeling is there, the eloquence of the gesture also. The rest would only spoil the essential things. It is a stroke of genius. I am going to write to the under-secretary of state that my monument is ready."

"The biblical times have come back again, the great invasions of the Medes and the Persians. Has the world, then, reached the point where it deserves to be punished for the egotistical epicureanism in which it has slumbered?"

"Why then should I clothe him to make him look ridiculous in the foolish masculine fashions of his time? There is nothing more banal than these statues of recent notabilities, to be seen in every big city of Europe, masquerading as tailors' models of their ugly period. Man's naked form on the other hand belongs to no particular moment in history ; it is eternal, and can be looked upon with joy by the people of all ages."

"Nothing is a waste of time if you use the experience wisely."

"The sculptor must learn to reproduce the surface, which means all that vibrates on the surface: spirit, soul, love, passion — life. ... Sculpture is thus the art of hollows and mounds, not of smoothness, or even polished planes."

"I choose a block of marble and chop off whatever I do not need."

"..the thing was to choose one [a ready-made object] that you were not attracted by.. ..and that was difficult because anything becomes beautiful if you look at it long enough.. .[My intention was to] completely eliminate the existence of taste, bad or good or indifferent."

"He [= Duchamp himself, writing in the third person] CHOSE IT. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object."

"In French there is an old expression, 'la patte', meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting."

"The only man in the past whom I really respect was Seurat.. .He didn't let his hand interfere with his mind."

"..because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting?] was just like printing except it was made by hand by him. That doesn’t add a thing to it. – it's just the idea of imitating the beer can that is important."

"The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem.. .I have come to the personal conclusion that while all artists are not chess players, all chess players are artists."

"Somebody in Germany [the German artist Joseph Beuys, who frequently visited America to discuss and to do performances] has been talking about my 'silence', saying that it is overrated. What does that mean? [this quotes you find also in Joseph Beuys' quotes on Wikiquote], he himself heard this 'rumor' from several American artists! (Joseph Beuys continued: 'I am convinced that he [= Duchamp] knew very well what it meant. If he was unsure about it, he could have written me a letter')."

"Well, this man [the T.V. interviewer of Jasper Johns,] wanted to know why I stopped painting [the so-called famous 'Silence of Duchamp'].. ..and he had said [it was] because of dealers and money and various reasons. Largely moralistic reasons.. ..But you know; it wasn’t like that. It’s like you break a leg; you don't mean to do it."

"..paint was always [in history of painting] a means to an end, whether the end was religious, social, decorative or romantic. Now it's become an end in itself.."

"[ Impressionism was] the beginning of a cult devoted to the material on the canvas – the actual pigment.."

"I was interested in ideas - not merely in visual products. I wanted to put painting once again at the service of the mind."

"I wanted to get away from the physical act of painting.. .For me the title ('Fresh Widow', 1920), with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', [probably referring to all the widows because of the many killings of soldiers in World War, 1. which ended in 1918] was very important.. .I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind."

"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."

"Marcel Duchamp's silence is overrated"

"Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art.. .He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object"."

"His [Marcel Duchamp's] idea was that anything could be art by focusing the mind to think of it as art. My images are similar but at the time my work was first being shown, 1958-'59, I was unfamiliar with Duchamp and Dada. Everyone said my work was Dada, so I read on it, went to Philadelphia to see the 'Arensberg Duchamp collection', was delighted by it and later met him [Duchamp].. .But it was all more a coincidence. Perhaps it’s that certain ideas get into the air, ideas that come out of our living and out of the environment automatically"

"The Duchamp thing is played both ways. The 'Urinal' [a famous 'readymade' art-work of Marcel Duchamp] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It’s very adolescent. I was very much excited by it when I was a teenager.. .My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived."

"In discussing his work [of Marcel Duchamp], it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important.. ..I would say that even the bourgeois tendencies in Duchamp's work – i.e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers.. ..The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters.. ..but to my mind, the images which emerged have a repressive effect."

"I just like - just breathing. I like breathing better than working."

"Asked to submit something for display by the Society of Independent Artists in New York [in 1917], Duchamp sent a urinal. Duchamp of course knew the history of art. He knew what had been achieved - how over the centuries art had been a powerful vehicle that called upon the highest development of the human creative vision and demanded exacting technical skill; and he knew that art had an awesome power to exalt the senses, the intellects, and the passions of those who experience it. Duchamp reflected on the history of art and decided to make a statement. The artist is a not great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object — it was mass-produced in a factory. The experience of art is not exciting and ennobling — at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on."

"Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient', contained in the work."

"In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of."

"I want to clarify our understanding of the word 'art' – to be sure, without an attempt to a definition. What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion. Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in a raw state – 'à l'état brute' – bad, good or indifferent."

"Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity. In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history. I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act."

"If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out."

"Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing."

"I am a great enemy of critical writing as all I see in these interpretations and comparisons with Kafka and others is just an opportunity to open up the floodgates of words which, overall, amounts to Carrouges or at times a translation of Carrouges – very free to makes his ideas look good. Obviously any work of art or literature, in the public domain, is automatically the subject of the victim of such transformations – and this is not just confined to the case of Carrouges. Every fifty years, El Greco is revised and adapted to the taste of the day, either overrated or underrated. The same goes for all surviving works of art. And this leads me to say that a work of art is made entirely by those who look at it or read it and make it survive by their acclaim or even their condemnation."

"So if I say you that your paintings [which his brother-in-law recently made] have nothing in common with what we see generally classified and accepted, and that you have always managed to produce things that were entirely your own work, as I truly see it, that does not mean you have the right to be seated next to Leonardo - What's more, this originality is suicidal as it distances you from a 'clientele' used to 'copies of copiers', often referred to as 'tradition'- One more thing, your technique is not the 'expected' technique – It's your own personal technique, borrowed from nobody – and there again, this doesn't attract the clientele.. ..In a word, do less self-analysis and enjoy your work without worrying about opinions, your own as well as that of others."

"This long preamble just to tell you not to judge your own work as you are the last person to see it (with true eyes) – What you see neither redeems nor condemns it – All words used to explain or praise it are false translations of what is going on beyond sensations. You are, as we all are, obsessed by the accumulation of principles or anti-principles which generally cloud your mind with their terminology and, without knowing it, you are a prisoner of what you think is a liberated education – In your particular case, you are certainly the victim of the 'Ecole de Paris' [French abstract art movement which developed after world War 2.], a joke that’s lasted for 60 years."

"You were asking my opinion on your work of art, my dear Jean [= Duchamp's brother-in-law Jean Crotti, who asked Duchamp his comment on an art-work he made].. .Artists throughout the ages are like Monte Carlo gamblers and the blind lottery pulls some of them through and ruin others.. .I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favors. In other words, no painters knows himself or what he is doing – There is no outward sign explaining why a Fra Angelico and a Leonardo [da Vinci] are equally 'recognized'. It all takes place at the level of our old friend luck."

"I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position."

"Another important point which you so very accurately sensed concerns the idea that the glass in actual fact is not meant to be looked at (with 'aesthetic' eyes). It should be accompanied by a 'literary' text, as amorphous as possible, which never took shape. And the two elements, glass for the eyes, text for the ears and understanding, should complement each other and above all prevent one or the other from taking on an aesthetic-plastic or literary form. All in all, I am hugely indebted to you for having stripped bare my Bride stripped bare [the complete title is: The Bride Stripped Bare by her Bachelors, Even (The Large Glass), c. 1915 – 1923]."