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One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

Barbara Hepworth

I rarely draw what I see. I draw what I feel in my body.
BARBARA HEPWORTH

Art Body Draws
At no point do I wish to be in conflict with any man or masculine thought. It doesn’t enter my consciousness. Art is anonymous. It’s not competitive with men. It’s a complementary contribution.
BARBARA HEPWORTH

Art Men Wish
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
BARBARA HEPWORTH

Details Tiny Yield
My left hand is my thinking hand (image), my right hand my doing hand (sequence).
BARBARA HEPWORTH

Hands Left Swquence Thinking
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
BARBARA HEPWORTH

Body People Sculpture
The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.
BARBARA HEPWORTH

Country Failing Nation Succeed United
I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.
BARBARA HEPWORTH

Different Order Space
Body experience… is the centre of creation.
BARBARA HEPWORTH

Art Body Creation
I love my blocks of marble, always piling up in the yard like a flock of sheep.
BARBARA HEPWORTH

Block Sheep Yards
The naturalness of life… the sense of community is, I think, a very important factor in an artist’s life.
BARBARA HEPWORTH

Artist Community Thinking
The sculptor must search with passionate intensity for the underlying principle of the organisation of mass and tension – the meaning of gesture and the structure of rhythm.
BARBARA HEPWORTH

Passionate Principles Sculpture
My works are an imitation of my own past and present.
BARBARA HEPWORTH

Art Imitation Past
Halfway through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again… Finally, you would only produce something hybrid.
BARBARA HEPWORTH

Hybridity Produce Yield
I must always have a clear image of the form of a work before I begin. Otherwise there is no impulse to create.
BARBARA HEPWORTH

Clear Form Impulse
I am the form and I am the hollow, the thrust and the contour
BARBARA HEPWORTH

Form Hollow Thrust
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
BARBARA HEPWORTH

Creative Emotional Past

One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

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One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

Related Topics

Popular Authors

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