“When works of art are presented like rare butterflies on the walls, they're decontextualized. We admire their beauty, and I have nothing against that, per se. But there is more to art than that…”

The Poetic Principle (1850)

'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

Statement in the 1920s as quoted in Chanel (1987) by Jean Leymari

Novalis (1829)
Context: When we speak of the aim and Art observable in Shakespeare's works, we must not forget that Art belongs to Nature; that it is, so to speak, self-viewing, self-imitating, self-fashioning Nature. The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.

Source: 1930 - 1941, from 'Arshile Gorky, – Goats on the roof' (2009), p. 168: in a letter to his future wife Agnes Magruder (Mougouch), 7 Mai 1941

Original: ​La donna è un capolavoro d'arte da ammirare ed apprezzare nella sua bellezza universale.
Source: prevale.net

Bittersweet, Chapter 2 at p. 36

S'pore Chess News, 7 September 2010 http://www.singaporechessnews.com/reflections_1.html