Diesen Ernsthaften diene zur Belehrung, dass ich von der Kunst als der höchsten Aufgabe und der eigentlich metaphysischen Thätigkeit dieses Lebens im Sinne des Mannes überzeugt bin, dem ich hier, als meinem erhabenen Vorkämpfer auf dieser Bahn, diese Schrift gewidmet haben will.
"Preface to Richard Wagner", p. 13
The Birth of Tragedy (1872)
Diesen Ernsthaften diene zur Belehrung, dass ich von der Kunst als der höchsten Aufgabe und der eigentlich metaphysischen Thätigkeit dieses Lebens im Sinne des Mannes überzeugt bin, dem ich hier, als meinem erhabenen Vorkämpfer auf dieser Bahn, diese Schrift gewidmet haben will.
The Birth of Tragedy (1872)
“Art is the proper task of life.”
From an interview conducted on 23 March 1983 for the May-August issue of the French journal Lutter ( "Marx today: the tragicomical paradox " http://www.rebeller.se/m.html). It was translated by Franco Schiavoni for the January 1984 issue of the Australian magazine Thesis Eleven.
Part II, Things and Thoughts of Europe, p. 198.
At Home And Abroad (1856)
“Extremist art is non-metaphysical, based on the senses.”
The Extremist Manifesto, 2013
“One of the supreme achievements of purely intellectual human activity.”
On the Cantor set, as quoted in A World Without Time : The Forgotten Legacy of Godel and Einstein (2005) by Palle Yourgrau, p. 44
“The Pornographic Imagination,” p. 45
Styles of Radical Will (1966)
"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: The Art of painting is itself an intensely personal activity… a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object... And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.
