“I look at things for the art sake and the beauty sake and for the deal sake.”

L'art pour l'art signifie, pour les adeptes, un travail dégagé de toute préoccupation autre que celle du beau en lui-même.
L'art moderne (Paris: Michel Lévy Frères, 1856) p. 151; F. W. Ruckstull Great Works of Art and What Makes Them Great (New York: Putnam, 1925) p. 299

Looking for an Honest Man (2009)
Context: Perhaps the most remarkable feature of Aristotle's teaching concerns the goals of ethical conduct. Unlike the moralists, Aristotle does not say that morality is a thing of absolute worth or that the virtuous person acts in order to adhere to a moral rule or universalizable maxim. And unlike the utilitarians, he does not say morality is good because it contributes to civic peace or to private gain and reputation. Instead, Aristotle says over and over again that the ethically excellent human being acts for the sake of the noble, for the sake of the beautiful.
The human being of fine character seeks to display his own fineness in word and in deed, to show the harmony of his soul in action and the rightness of his choice in the doing of graceful and gracious deeds. The beauty of his action has less to do with the cause that his action will serve or the additional benefits that will accrue to himself or another — though there usually will be such benefits. It has, rather, everything to do with showing forth in action the beautiful soul at work, exactly as a fine dancer dances for the sake of dancing finely. As the ballerina both exploits and resists the downward pull of gravity to rise freely and gracefully above it, so the person of ethical virtue exploits and elevates the necessities of our embodied existence to act freely and gracefully above them. Fine conduct is the beautiful and intrinsically fulfilling being-at-work of the harmonious or excellent soul.

He that saveth his art shall lose it.
Meynell alludes to the saying of Jesus: "He that saveth his life shall lose it" (Mark 8:35).
Source: Mary, the Mother of Jesus: An Essay (1912), Ch. X. "In Churches", p. 134

Source: Showboat World (1975), Chapter 14 (p. 168)

Source: 1945 - 1964, Interview, 1960, p. 107

“The Obscurity of the Poet”, p. 24
Poetry and the Age (1953)
Context: People always ask: For whom does the poet write? He needs only to answer, For whom do you do good? Are you kind to your daughter because in the end someone will pay you for being?... The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.

Of a King.
Table Talk (1689)

"So You Want To Write A Fugue", work's text