“It does not follow, that because a particular work of art succeeds in charming us, its creator also deserves our admiration.”
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Plutarch 251
ancient Greek historian and philosopher 46–127Related quotes
Games for Actors and non-Actors (1992)
Context: Wouldn’t it be wonderful to see a dance piece where the dancers danced in the first act and in the second showed the audience how to dance? Wouldn’t it be wonderful to see a musical where in the first act the actors sang and in the second we all sang together?... This is... how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.
“None of us is just its victim. We are all also its co-creators.”
New Year's Address to the Nation (1990)
Context: We had all become used to the totalitarian system and accepted it as an unchangeable fact and thus helped to perpetuate it. In other words, we are all — though naturally to differing extents — responsible for the operation of the totalitarian machinery. None of us is just its victim. We are all also its co-creators.
Source: The Chaplet https://www.newadvent.org/fathers/0304.htm, Chapter V
“Each work of art is a complete entity existing in its own right and by its own particular logic.”
Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.
Letter that he sent to the Army, against the use of monkeys in chemical attack training exercises; full text in "Woody Harrelson Fights Army Tests on Chimps", in Usnews.com (13 September 2011) https://www.usnews.com/news/blogs/washington-whispers/2011/09/13/woody-harrelson-fights-army-tests-on-chimps.
“Suffering is the sandpaper of our incarnation. It does its work of shaping us.”
"The Profession of Poetry," Partisan Review (September/October 1950) [p. 166]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)
Commentary on the Book of Genesis. Chapter I http://www.iclnet.org/pub/resources/text/ipb-e/epl-01/cvgn1-03.txt.
Genesis (1554)
Source: How Europe Underdeveloped Africa (1972), p. 76.