“Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath.”

— Henry Adams

Mont Saint Michel and Chartres (1904)

Adopted from Wikiquote. Last update June 3, 2021. History

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Henry Adams 311

journalist, historian, academic, novelist 1838–1918

Obert Skye book Leven Thumps and the Gateway to Foo

Source: Leven Thumps and the Gateway to Foo

“He who wants a rose must respect her thorn.”

André Gide (1869–1951) French novelist and essayist

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris.
1949 - 1958, Various sources

“A work of art is the unique result of a unique temperament. Its beauty comes from the fact that the author is what he is. It has nothing to do with the fact that other people want what they want. Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a dishonest tradesman. He has no further claim to be considered as an artist.”

Oscar Wilde book The Soul of Man under Socialism

The Soul of Man Under Socialism (1891)

“There ought to be but one large art warehouse in the world, to which the artist could carry his art-works, and from which he could carry away whatever he needed. As it is, one must be half a tradesman.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

Conversations (January 1801)

“He especially liked ads for shampoos and hair coloring. The women in them seemed to regard their hair as independent, capricious entities, whom they must placate and provide with food.”

Thomas M. Disch (1940–2008) Novelist, short story writer, poet

"The Black Cat".
The Man Who Had No Idea (and other stories) (1982)

“Don Kayman was too good a scientist to confuse his hopes with observations. He would report what he found. But he knew what he wanted to find.”

Frederik Pohl book Man Plus

Source: Man Plus (1976), Chapter 14, “Missionary to Mars” (p. 190)

“He walked down the side street to a wide thoroughfare of shop-windows and offices. This, he assumed, was one of the main arteries of London, a city he did not know very well. There were sodium street-lights, lights in windows. Occasional cars sped by. There was even an airline bus crammed with yawning passengers. Edwin saw himself reflected in a window full of tape-recorders.”

Anthony Burgess (1917–1993) English writer

Fiction, The Doctor is Sick (1960)

“The critical sense is so far from frequent that it is absolutely rare, and the possession of the cluster of qualities that minister to it is one of the highest distinctions… In this light one sees the critic as the real helper of the artist, a torchbearing outrider, the interpreter, the brother… Just in proportion as he is sentient and restless, just in proportion as he reacts and reciprocates and penetrates, is the critic a valuable instrument.”

Henry James (1843–1916) American novelist, short story author, and literary critic

Criticism.

“Never better than after the last four centuries of his history could a Western man understand that, while assuming the right to impose a radical separation of humanity and animality, while granting to one all that he denied the other, he initiated a vicious circle. The one boundary, constantly pushed back, would be used to separate men from other men and to claim—to the profit of ever smaller minorities—the privilege of a humanism, corrupted at birth by taking self-interest as its principle and its notion.”

Claude Lévi-Strauss (1908–2009) French anthropologist and ethnologist

Structural Anthropology, Volume 2 (1973), trans. Monique Layton, University of Chicago Press, 1983, p. 41 https://books.google.it/books?id=hI74gavU7J4C&pg=PA41

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Henry Adams 311

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