Citas de Barbara Hepworth

• Rara vez dibujo lo que veo. Dibujo lo que siento en mi cuerpo.

  Barbara Hepworth

  Art, Body, Draws

  Barbara Hepworth (Dame), Alan Bowness (1967). “Drawings from a sculptor's landscape”

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• I am the form and I am the hollow, the thrust and the contour

  Barbara Hepworth

  Form, Thrust, Hollow

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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• All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.

  Barbara Hepworth

  Art, Memories, Father

  Barbara Hepworth (Dame) (1978). “A pictorial autobiography”

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• 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

  People, Sculpture, Body

  Interview in The Studio, 1962.

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• My works are an imitation of my own past and present.

  Barbara Hepworth

  Art, Past, Imitation

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• Body experience... is the centre of creation.

  Barbara Hepworth

  Art, Body, Creation

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• The naturalness of life... the sense of community is, I think, a very important factor in an artist's life.

  Barbara Hepworth

  Artist, Thinking, Community

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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• I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.

  Barbara Hepworth

  Country, Moving, Inspiration

  "Voicing Our Visions: Writings by Women Artists". Book by Mara R. Witzling, 1991.

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• I found one had to do some work every day, even at midnight, because either you're professional or you're not.

  Barbara Hepworth

  Midnight, Found

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• 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

  Form, Impulse, Clear

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• 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.

  Barbara Hepworth

  Integrity, Ideas, Intuition

  "The Studio 132:643". as cited in Voicing our visions, - "Writings by women artists", ed. by Mara R. Witzling, Universe New York 1991, p. 279, 1946.

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• 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

  Principles, Sculpture, Passionate

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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• I love my blocks of marble, always piling up in the yard like a flock of sheep.

  Barbara Hepworth

  Block, Sheep, Yards

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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• My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.

  Barbara Hepworth

  Thinking, Hands, Stones

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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• En ningún momento deseo entrar en conflicto con ningún hombre o pensamiento masculino. No entra en mi conciencia. El arte es anónimo. No compite con los hombres. Es una contribución complementaria.

  Barbara Hepworth

  Art, Men, Wish

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• [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

  Past, Emotional, Creative

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• Hay que ser totalmente sensible a la estructura del material que se maneja. Hay que someterse a ella en los pequeños detalles de la ejecución, tal vez el tratamiento de la superficie o el grano, y hay que dominarla en su conjunto.

  Barbara Hepworth

  Yield, Details, Tiny

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• 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

  Order, Space, Different

  Dame Barbara Hepworth (1952). “Carvings and Drawings”

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• Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize... ...It is essentially practical and passionate.

  Barbara Hepworth

  Sight, Land, Ideas

  Studio International 171, p.280, June 1966.

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• Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

  Barbara Hepworth

  Men, Primitive Man, Drawing

  Studio International 171, p. 280, June 1966.

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• 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

  Yield, Hybridity, Produce

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• My left hand is my thinking hand (image), my right hand my doing hand (sequence).

  Barbara Hepworth

  Thinking, Hands, Left Hand

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• The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.

  Barbara Hepworth

  Succeed, Failing, United Nations

  Dame Barbara Hepworth (1970). “A Pictorial Autobiography”

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