Charles Baudelaire Le Peintre de la vie moderne
La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable. <br class="br">IV: "La modernite" http://fr.wikisource.org/wiki/La_Modernit%C3%A9 <br class="br">Le peintre de la vie moderne (1863)
Clement Greenberg (1909–1994) American writer and artist
1960s, Modernist Painting (1960)
Ad Reinhardt (1913–1967) American painter
Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155
Jean Dubuffet book Prospectus et tous écrits suivants
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006, p. 14
1960-70's, Prospectus et tous écrits suivants, 1967
“Art before the modern period is as much art as Neanderthal man is man.”
Joseph Kosuth (1945) American conceptual artist
It is for this reason that around the same time I replaced the term "work" for art proposition. Because a conceptual work of art in the traditional sense, is a contradiction in terms.
Joseph Kosuth. (1969), as cited in: Claude Gintz, Musée d'Art Moderne Paris (1989). L'Art conceptuel, une perspective: exposition au Musée d'art moderne de la Ville de Paris, 22 nov. 1989 - 18 fév. 1990. p. 42
Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist
Arp on Arp: poems, essays, memories. p. 327 (1958)
1950s
Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer
as quoted in the exhibition, 'Expressionisten, die Avantgarde in Deutschland 1905 - 1920', catalog Nationalgalerie Berlin, DDR, 1986, p. 109
1900s - 1920s
“Great art is an instant arrested in eternity.”
James Huneker (1857–1921) American music critic
The Pathos of Distance (1915), p. 120
“In art, immorality cannot exist. Art is always sacred”
Auguste Rodin (1840–1917) French sculptor
Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
1950s-1990s
Context: In art, immorality cannot exist. Art is always sacred even when it takes for a subject the worst excesses of desire; since it has in view only the sincerity of observation, it cannot debase itself. A true work of art is always noble, even when it translates the stirrings of the brute, for at that moment, the artist who has produced it had as his only objective, the most conscientious rendering possible of the impression he has felt.
