Henry Moore Quotes

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

Monet was like a conductor. He painted with quite a straight arm and used bold strokes.

A mountain seen in the haze of distance must nevertheless look a solid heavy mountain.

The animation of the canvas is one of the hardest problems of painting.

I always start a painting with the sky.

I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.

Most of the power of painting comes through the manipulation of space... but I don't understand that.

Profound subject matter can be encompassed in small space - for proof, look at any sonnet by Shakespeare!

I use depth in my visuals even in 2-D, and found that 3-D is actually liberating.

If there's anything consistent about my work, it's not flat.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

With manga, in my art style, I don't do much in the way of techniques to create depth. But even though I don't do depth techniques through my art, I am conscious of depth itself.

Space is not only high, it's low. It's a bottomless pit.

Absence is a house so vast that inside you will pass through its walls and hang pictures on the air.

A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.

I have likewise made many 'skies' and effects - for I wish it could be said of me as Fuselli says of Rembrandt, 'he followed nature in her calmest abodes and could pluck a flower on every hedge - yet he was born to cast a steadfast eye on the bolder phenomena of nature'... We have had noble clouds & effects of light & dark & color.

In a field I am the absence of field.That is always the case. Wherever I am, I am what is missing. When I walk I part the air and always the air moves in to fill the space where my body has been. We all have reasons for moving. I move to keep things whole.

This most excellent canopy, the air, look you, this brave o-erhanging firmament, this majestical roof fretted with golden fire.

Nonetheless, Scranton had travelled in space. He had known the loneliness of separation from all other human beings, he had gazed at the empty perspectives that I myself had seen.

This upper limit, of earth at our feet is visible and touches the air, but below it reaches to infinity

There is a difference between film and digital. Because digital, you know, it's perfect and whatever. But with film, you get depth. You get subject.

Thoughts exchanged by one and another are not the same in one room as in another.

The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.

Of all ebriosity, who does not prefer to be intoxicated by the air he breathes?

The sky darkened, the air grew colder, but he didn't mind. It didn't occur to him to move. This was the right place. This was where he had wanted to be.