“It is doubtful whether the artist [unknown] altogether knew what he depicted here in this panel, and even more doubtful whether he could have expressed it in words. That which we praise here as well thought-out and cleverly arranged may, in fact, have been achieved by him unconsciously; for the artist was transformed by pure harmoniousness while executing this picture, and his feeling become his law. Only his disposition, his spiritual exaltation, could have brought forth such a fruit as this picture. Just as the pious man prays without speaking a word and the Almighty hearkens unto him, so the artist with true feeling paints and the sensitive man understands and recognizes it; while even the less sensitive gain some inkling of it.”

— Caspar David Friedrich

cited in: Vaughan, William-Börsch-Supan, Helmut- Neidhardt, Hans Joachim, Caspar David Friedrich. 1774-1840. Romantic Landscape Painting in Dresden, London, The Tate gallery, 1972, p. 104
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Caspar David Friedrich 31

Swedish painter 1774–1840

Morris Kline (1908–1992) American mathematician

Source: Mathematical Thought from Ancient to Modern Times (1972), p. 580
Context: Fermat knew that under reflection light takes the path requiring least time and, convinced that nature does indeed act simply and economically, affirmed in letters of 1657 and 1662 his Principle of Least Time, which states that light always takes the path requiring least time. He had doubted the correctness of the law of refraction of light but when he found in 1661 that he could deduce it from his Principle, he not only resolved his doubts about the law but felt all the more certain that his Principle was correct.... Huygens, who had at first objected to Fermat's Principle, showed that it does hold for the propagation of light in media with variable indices of refraction. Even Newton's first law of motion, which states that the straight line or shortest distance is the natural motion of a body, showed nature's desire to economize. These examples suggested that there might be a more general principle. The search for such a principle was undertaken by Maupertuis.

“An artist, if good for anything, foresees what his public will see; and what his public will see is what he ought to have intended — the measure of his genius. If the public sees more than he himself did, this is his credit; if less, this is his fault. No matter how simple or ignorant we are, we ought to feel a discord or a harmony where the artist meant us to feel it, and when we see a motive, we conclude that other people have seen it before us, and that it must therefore have been intended.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

“No doubt the artist is the child of his time; but woe to him if he is also its disciple, or even its favorite.”

Friedrich Schiller book On the Aesthetic Education of Man

Letter 9
On the Aesthetic Education of Man (1794)

“SPAN ID=Whether_he_realizes>Whether he realizes it or not, however, Mr. Mets is affected every hour of his life not only by the words he hears and uses, but also by his unconscious assumptions about language. […] Such unconscious assumptions determine the effect that words have on him -- which in turn determines the way he acts, whether wisely or foolishly. Words -- the way he uses them and the way he takes them when spoken by others -- largely shape his beliefs, his prejudices, his ideals, his aspirations. They constitute the moral and intellectual atmosphere in which he lives -- in short, his semantic environment.”

S. I. Hayakawa book Language in Thought and Action

</SPAN>
Source: Language in Thought and Action (1949), The Niagara of Words, p. 18

“One of my biggest heroes in music has been David Bowie. He's said, `I'm going to be a painter now, or I'm going to do some films,' and his audience is very forgiving, because they understand him as an artist. Whether you agree or like the result, you respect that he's expressing his artistic feelings.”

Maynard James Keenan (1964) musician

The Record staff (March 22, 2000) "Music News & Notes", The Record, p. Y4.

“For instance, if you have by a lie hindered a man who is even now planning a murder, you are legally responsible for all the consequences. But if you have strictly adhered to the truth, public justice can find no fault with you, be the unforeseen consequence what it may. It is possible that whilst you have honestly answered Yes to the murderer’s question, whether his intended victim is in the house, the latter may have gone out unobserved, and so not have come in the way of the murderer, and the deed therefore have not been done; whereas, if you lied and said he was not in the house, and he had really gone out (though unknown to you) so that the murderer met him as he went, and executed his purpose on him, then you might with justice be accused as the cause of his death. For, if you had spoken the truth as well as you knew it, perhaps the murderer while seeking for his enemy in the house might have been caught by neighbours coming up and the deed been prevented.”

Immanuel Kant (1724–1804) German philosopher

On a Supposed Right to Tell Lies from Benevolent Motives (1797)

“The artist committing himself to his calling has volunteered for hell, whether he knows it or not. He will be dining for the duration on a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation.”

Steven Pressfield (1943) United States Marine

Source: The War of Art: Break Through the Blocks & Win Your Inner Creative Battles

“no one talks more passionately about his rights than he who in the depths of his soul doubts whether he has any”

Friedrich Nietzsche book Human, All Too Human

I.597
Human, All Too Human (1878)
Context: No one talks more passionately about his rights than he who in the depths of his soul doubts whether he has any. By enlisting passion on his side he wants to stifle his reason and its doubts: thus he will acquire a good conscience and with it success among his fellow men.

“The "I" who speaks in this book is by no means the author. Rather, the author wishes that the reader may come to see himself in this "I": that the reader may not simply relate to what is said here as he would to history, but rather that while reading he will actually converse with himself, deliberate back and forth, deduce conclusions, make decisions like his representative in the book, and through his own work and reflection, purely out of his own resources, develop and build within himself the philosophical disposition that is presented to him in this book merely as a picture.”

Johann Gottlieb Fichte book The Vocation of Man

Source: The Vocation of Man (1800), P. Preuss, trans. (1987), p. 2

“When it is known that Plato put his own words in Socrates' mouth (Aristotle says this) there should be no reason to doubt that he could have put his own words into other mouths too.”

Robert M. Pirsig book Zen and the Art of Motorcycle Maintenance

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 29

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Caspar David Friedrich 31

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