A Quote by Henri Matisse

Cutting into color reminds me of the sculptor's direct carving. — © Henri Matisse
Cutting into color reminds me of the sculptor's direct carving.
Cutting straight into color reminds me of the direct carving of the sculptor.
That smell of freshly cut grass makes me think of Friday night football in high school. The smell of popcorn and cigar smoke reminds me of the stadium. The cutting of the grass reminds me of the August practice.
Carving is a source of joy to the artist. . . . To attack the raw material, gradually to extract a shape out of it following one's own desire, or, sometimes, the inspiration of the material itself: this gives the sculptor great joy.
Each of us is carving a stone, erecting a column, or cutting a piece of stained glass in the construction of something much bigger than ourselves.
I don't want to think too much about how I'm carving and what I'm carving - you are just carving away the excess clay and there's a piece underneath there. And it's kind of like getting out of the way. Maybe that's what the commonality is: It's getting out of the way so that the art can speak.
There's a Diebenkorn painting - 'Ocean Park No. 68' - that is the color of a swimming pool and always reminds me of summers at the beach.
I want to direct films, because I am a painter and a sculptor and I've done a lot of writing.
The great black and white draftsman, the sculptor, and the blind man know that form and color are separate. The form itself is what the blind man knows...Color is surface skin that fits over the form.
A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance.
I think I am the first person of color to direct a major white play on Broadway. In 1993? That's astounding to me. And horrifying to me.
It reminds me of a string of wet sponges; it reminds me of tattered washing on the line; it reminds me of stale bean soup, of college yells, of dogs barking idiotically through endless nights. It is so bad that a sort of grandeur creeps into it. It drags itself up out of the dark abyss of pish and crawls insanely up the topmost pinnacle of posh. It is rumble and bumble. It is flap and doodle. It is balder and dash.
I said, I prefer the ocean when it's gray. Or not really gray. A pale, in-between color. It reminds me of waiting for something good to happen.
I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
Before I start carving the idea must be almost complete. I say 'almost' because the really important thing seems to be the sculptor's ability to let his intuition guide him over the gap between conception and realization without compromising the integrity of the original idea; the point being that the material has vitality - it resists and makes demands.
For me, most writing consists of siphoning out useless pre-story matter, cutting and cutting and cutting, what seems to be endless rewriting, and what is entailed in all that is patience, and waiting, and false starts, and dead ends, and really, in a way, nerve.
Light is the photographic medium par excellence; it is to the photographer what words are to the writer; color and paint to the painter; wood, metal, stone, or clay to the sculptor.
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