“The true test of all the arts, is not solely whether the production is a true copy of nature, but whether it answers the end of art, which is to produce a pleasing effect upon the mind.”

Source: A Young Muslim's Guide to the Modern World

The Fantastic Imagination (1893)
Context: "But a man may then imagine in your work what he pleases, what you never meant!"
 Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own.

Source: The Art of Racing in the Rain

as quoted by Ilya Prigogine in his Autobiography http://nobelprize.org/nobel_prizes/chemistry/laureates/1977/prigogine-autobio.html given at the occasion of Prigogine's 1977 Nobel Prize in Chemistry.

R. G. Collingwood (1925). "Plato’s philosophy of art." In: Mind. Vaduz, vol. XXXIV, pp.156-7

Source: All for Love

Reported in Dictionary of Burning Words of Brilliant Writers (1895) by Josiah Hotchkiss Gilbert, p. 448.

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

Small Houses: Their Economic Design and Construction (1922)
Context: Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?<!-- Introduction