Herbert Read cytaty

Sir Edward Herbert Read – angielski teoretyk sztuki, poeta, eseista, krytyk literacki i anarchista. Był jednym z pierwszych pisarzy angielskich, którzy zwrócili uwagę na egzystencjalizm. Duży wpływ wywarły na niego proto-egzystencjalne koncepcje i anarchizm indywidualistyczny Maxa Stirnera.

Przez większą część życia zajmował się problematyką edukacji, zwłaszcza w dziedzinie edukacji artystycznej. Przedmiotem jego zainteresowań było też funkcjonowanie dzieł sztuki w społeczeństwie oraz psychologia twórczości. Zajmował się tymi zagadnieniami m.in. w książkach:

- "Sztuka a przemysł" 1934, wydanie polskie 1964,

- "Wychowanie przez sztukę" 1943, wydanie polskie 1976. Wikipedia  

✵ 4. Grudzień 1893 – 12. Czerwiec 1968
Herbert Read Fotografia
Herbert Read: 46   Cytatów 0   Polubień

Herbert Read słynne cytaty

„Artyści bardziej kształtują kulturę niż ona ich.”

Źródło: Leksykon złotych myśli, wyboru dokonał Krzysztof Nowak, Warszawa 1998.

„Cała rzeczywistość jest estetyczna.”

Źródło: Leksykon złotych myśli, op. cit.

„Prawdziwą funkcją sztuki jest wyrażenie uczucia i przekazanie zrozumienia.”

Źródło: Sens sztuki, tłum. K. Tarnowska, Warszawa 1982, s. 218.

„Dzieje sztuki zaczynają się od ekspresji.”

Źródło: Leksykon złotych myśli, op. cit.

Herbert Read: Cytaty po angielsku

“We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others.”

Foreword (1956), to The Rebel (1951) by Albert Camus
Other Quotes
Kontekst: All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State.
"The strange and terrifying growth of the modern State can be considered as the logical conclusion of inordinate technical and philosophical ambitions, foreign to the true spirit of rebellion, but which nevertheless gave birth to the revolutionary spirit of our time. The prophetic dream of Marx and the over-inspired predictions of Hegel or of Nietzsche ended by conjuring up, after the city of God had been razed to the ground, a rational or irrational State, which in both cases, however, was founded on terror." The counterrevolutions of fascism only serve to reinforce the general argument.
Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature.
Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others.

“Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual”

The Origins of Art (1966)
Other Quotes
Kontekst: What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed.

“Restraint is not the contrary of revolt.”

Foreword (1956), to The Rebel (1951) by Albert Camus
Other Quotes
Kontekst: All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State.
"The strange and terrifying growth of the modern State can be considered as the logical conclusion of inordinate technical and philosophical ambitions, foreign to the true spirit of rebellion, but which nevertheless gave birth to the revolutionary spirit of our time. The prophetic dream of Marx and the over-inspired predictions of Hegel or of Nietzsche ended by conjuring up, after the city of God had been razed to the ground, a rational or irrational State, which in both cases, however, was founded on terror." The counterrevolutions of fascism only serve to reinforce the general argument.
Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature.
Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others.

“What I am searching for… is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form.”

The Origins of Art (1966)
Other Quotes
Kontekst: What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed.

“All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State.”

Foreword (1956), to The Rebel (1951) by Albert Camus
Other Quotes
Kontekst: All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State.
"The strange and terrifying growth of the modern State can be considered as the logical conclusion of inordinate technical and philosophical ambitions, foreign to the true spirit of rebellion, but which nevertheless gave birth to the revolutionary spirit of our time. The prophetic dream of Marx and the over-inspired predictions of Hegel or of Nietzsche ended by conjuring up, after the city of God had been razed to the ground, a rational or irrational State, which in both cases, however, was founded on terror." The counterrevolutions of fascism only serve to reinforce the general argument.
Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature.
Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others.

“These are the sensations and feelings that are gradually blunted by education, staled by custom, rejected in favor of social conformity.”

Referring to the curiosity and sense of wonder of the child, p. 17
Collected Poems (1966)

“The rhythm of a poem ceases the moment the feeling loses its intensity.”

What is a Poem - Endword - Selected Poems (1926)

“True poetry was never speech, but always song.”

What is a Poem - Endword - Selected Poems (1926)

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