“The work of art is to dominate the spectator: the spectator is not to dominate the work of art.”

— Oscar Wilde , book The Soul of Man under Socialism

The Soul of Man Under Socialism (1891)
Context: If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in such a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator: the spectator is not to dominate the work of art. The spectator is to be receptive. He is to be the violin on which the master is to play. And the more completely he can suppress his own silly views, his own foolish prejudices, his own absurd ideas of what Art should be, or should not be, the more likely he is to understand and appreciate the work of art in question.

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Oscar Wilde 812

Irish writer and poet 1854–1900

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“It's the spectator, and not life, that art really mirrors.”

Oscar Wilde (1854–1900) Irish writer and poet

Source: Miscellaneous Aphorisms; The Soul of Man

“.. we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.... the role of the spectator is to determine the weight of the work on the aesthetic scale.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

“This calls for an explanation and it may be this, that no painting, however good it seems to us is anything in itself, except chemicals smeared on a flat surface. The value in the work of art is in the spectator, you see, and a painting has no bigger value than the mental and intellectual forces it arouses in the spectator.”

Asger Jorn (1914–1973) Danish artist

Jorn's quote, from his speech at the library of Silkeborg, September l0th 1953 (translated from an unpublished Danish manuscript by Guy Atkins) ; as quoted on the website of the Jorn Museum Articles by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255
1949 - 1958, Various sources

“The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place... All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from The Writings of Marcel Duchamp (Marchand du Sel) e.d. Michel Sanouille and Elmer Peterson, New York 1973, pp. 139-140
posthumous

“The dominant tradition in the sociology of art… defines art as something more special, in which creativity comes to the surface and the essential character if the society expresses itself, especially in the great work of the genius.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p.xi.

“God hath introduced Man to be a spectator of Himself and of His works; and”

Epictetus (50–138) philosopher from Ancient Greece

Golden Sayings of Epictetus
Context: But God hath introduced Man to be a spectator of Himself and of His works; and not a spectator only, but also an interpreter of them. Wherefore it is a shame for man to begin and to leave off where the brutes do. Rather he should begin there, and leave off where Nature leaves off in us: and that is at contemplation, and understanding, and a manner of life that is in harmony with herself. See then that ye die not without being spectators of these things. (13).

“Every truthful work of art must express a definite feeling, must move the spirit of the spectator either to joy or to sadness.... rather than try to unite all sensations, as thought mixed together with a twirling stick.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote in: 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials
undated

“The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?"”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 237-9, "Reality Again: The New Photorealism"

“Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part I, Chapter III
Les voix du silence [Voices of Silence] (1951)

“I live in the USSR, work actively and count naturally on the worker and peasant spectator. If I am not comprehensible to them I should be deported.”

Dmitri Shostakovich (1906–1975) Russian composer and pianist

In discussion with an opera audience, January 14, 1930; cited from Laurel Fay Shostakovich: A Life (2000) p. 55.

“The work of art is to dominate the spectator: the spectator is not to dominate the work of art.”

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Oscar Wilde 812

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