“Loss is not without its curious advantages for the artist. Major traumatic breaks are pretty common in the biographies of artists I respect.”

The Life of the Creative Spirit
Context: I believe the principle fault of the majority of writers and artists is having neither the will nor the courage to break with their successes, failing to seek new paths and give birth to new ideas. Most of them produce them twice, three, even four times. They have neither the courage nor the temerity to leave what is certain for what is uncertain. There is, however, no greater pleasure than going into the depth of oneself, setting one's whole being in motion and seeking for new and hidden treasures. What a joy to find something new in oneself, something that surprises even ourselves, filling us with warmth.

Source: The Three Stigmata of Palmer Eldritch (1965), Chapter 10 (p. 168)

Quoted in Irene Gammel, Baroness Elsa: Gender, Dada and Everyday Modernity, p 53.

Source: Art and Illusion: A Study in the Psychology of Pictorial Representation

Source: Art & Other Serious Matters, (1985), p. 273, "Being Outside"

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Source: Truth and Method (1960), p. 76
Context: The free artist creates without a commission. He seems distinguished by the complete independence of his creativity and thus acquires the characteristic social features of an outsider whose style of life cannot be measured by the standards of public morality. The concept of the bohemian which arose in the nineteenth century reflects this process. The home of the Gypsies became the generic word for the artist's way of life.
But at the same time the artist, who is as "free as a bird or a fish," bears the burden of a vocation that makes him an ambiguous figure. For a cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the "standpoint of art" can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a "secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.

Source: 1910s, Prejudices, First Series (1919), Ch. 16
Context: The great artists of the world are never Puritans, and seldom even ordinarily respectable. No virtuous man — that is, virtuous in the Y. M. C. A. sense — has ever painted a picture worth looking at, or written a symphony worth hearing, or a book worth reading.