A Quote by Betty Parsons
I've been working in sculpture and painting since 1920.
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After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
I've been singing since I was 8 years old and working in clubs since I was 14. I've been working full time since I was 16.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
I was studying sculpture and painting and was working on a degree so I could become a teacher. I really liked teaching, and it was something I was pursuing when I got out of school.
Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch.
The sense of motion in painting and sculpture has long been considered as one of the primary elements of the composition.
Does art have a future? Performance genres like opera, theater, music and dance are thriving all over the world, but the visual arts have been in slow decline for nearly 40 years. No major figure of profound influence has emerged in painting or sculpture since the waning of Pop Art and the birth of Minimalism in the early 1970s.
Painting and sculpture, labour and good faith, have been my ruin and I continually go from bad to worse. Better it would have been for me if I had set myself to making matches in my youth. I should not be in such distress of mind.
I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
It's not like since I make comics I only read comics and since I make movies I will only go out and watch movies. Any kind of artistic expression interests me; it goes from literature to music to sculpture, painting; whatever is extremely inspiring for me becomes a reference also for me.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
I'm a classically trained painter, and I was an illustrator in New York working with Fortune 500s companies as well as the NBA and the Olympics. I first got into sculpting when I created a sculpture based on a painting I had done for the 1984 Olympics.
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