“The art of love… is largely the art of persistence.”

Depero (1931) "Futurism and Adverticing Art"; Partly quoted in: Jonathon Keats, " Fortunato Depero's Italian Futurism http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html," forbes.com, 2009/06/08
Context: The art of the future will be largely advertising.
that bold and unimpeachable lesson I have learned from museums and great works from the past—
all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—
even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—
there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising

Philip Kotler (1999), as cited in: Dennis Adcock, ‎Al Halborg, ‎Caroline Ross (2001), Marketing: Principles and Practice. p. 208

Aristotle, Nicomachean Ethics, Book VI, sec. 4, 1140a.

"The History of Pattern-Designing" lecture (1882) The Collected Works of William Morris (1910 - 1915) Vol. 22.
Context: I love art, and I love history, but it is living art and living history that I love... It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigour of the earlier world?

Part I, Chapter V
Les voix du silence [Voices of Silence] (1951)

Source: The City and the Stars (1956), Chapter 5 (p. 37)

Ralph Richardson, reported in Ashton Applewhite; Tripp Evans, Andrew Frothingham (2003). And I Quote: The Definitive Collection of Quotes, Sayings, and Jokes for the Contemporary Speechmaker. Macmillan, p. 283. ISBN 0312307446.

"Freedom for Whom", as translated in Brecht on Brecht : An Improvisation (1967) by George Tabori, p. 18
Context: Firebugs dragging their gasoline bottles
Are approaching the Academy of Arts, with a grin.
And so, instead of embracing them, Let us demand the freedom of the elbow
To knock the bottles out of their filthy hands.
Even the most blockheaded bureaucrat,
Provided he loves peace,
Is a greater lover of the arts
Than any so-called art-lover
Who loves the arts of war.