“He maintains that culture shows itself above all else in a unity of artistic style running through every expression of a nation's life. On the other hand, the fact of having learnt much and knowing much is, as he points out, neither a necessary means to culture nor a sign of culture; it accords remarkably well with barbarism, that is to say, with want of style or a motley hotchpotch of styles.”

On Friedrich Nietzsche's views on culture, p. 6
An Essay on Aristocratic Radicalism (1889)

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Georg Brandes40

Danish literature critic and scholar 1842–1927

Harold Powers (1928–2007) American academic

“Modern culture is defined by this extraordinary freedom to ransack the world storehouse and to engorge any and every style it comes upon.”

Daniel Bell book The Cultural Contradictions of Capitalism

Introduction, The Disjunction of Realms, p. 13
The Cultural Contradictions of Capitalism (1976)

“The critics are occasionally pleased to compliment a pianist by saying that he plays in the grand style. Exactly what do they mean by that phrase? In the broadest sense, they mean a style of playing which penetrates deeper than the physical conquering of the piano. It concerns itself with the release of music. The “grand style” moved listeners through interpretation.”

Benno Moiseiwitsch (1890–1963) British musician

Playing in the Grand Style (1950)

“The defects of German philosophy are those of professionalism: a closed atmosphere, books instead of life, inability to communicate discoveries to the world at large, contempt for good style, inbreeding, lack of general culture, gruesome earnestness. The defects of the cultured philosophe are those of amateurism: too many interests, superficiality, the cultivation of good style as an end in itself, the sacrifice of truth to wit, lack of intellectual honesty, philosophizing but no philosophy, inconsistency. Nietzsche achieves a balance between these two types of mind and two styles of expression: he is profound but not obscure; he aims at good style but reconciles it with good thinking; he is serious but not earnest; he is a sensitive critic of the arts and of culture but not an aesthete; he is an aphorist and epigrammist, but his aphorisms and epigrams derive from a consistent philosophy; he is the wittiest of philosophers, but he rarely succumbs to the temptation to sacrifice truth to a witty phrase; he has many interests but never loses sight of his main interests. He achieves, especially in his later works, a conciseness and limpidity notoriously rare in German writing: no modern thinker of a like profundity has had at his command so flexible an instrument of expression.”

R. J. Hollingdale (1930–2001) British Author

1. The Child
Nietzsche (1965, 1999)

“She's a perfect example of how popular culture and street style now influence the world of fashion. Over the years, Madonna has been one of the most potent style setters of our time. She, just as much as Karl Lagerfeld, makes fashion happen.”

Madonna (1958) American singer, songwriter, and actress

О Мадонне

“I’m very interested in the ‘Culture of Interpretation.’ I’m convinced that each great artist has his own personal style, but it is his artistic responsibility in developing this style to respond other interpretations, either prior or at the same time. I’m convinced that Rubinstein would have presented us another Chopin if Cortot had not existed. Cortot presented very romantic Chopin interpretations - really masterly, outstanding, but confused. Rubinstein’s immediate answer was a very classical Chopin. He was really the first to point out the classical line and structure in his oeuvre.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles.”

Guity Novin (1944) artist

Source: Ayandegan (1973), p. 4

“Consumerism has created a culture that values style over substance, image over reality, and perception over performance.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

“Only through experience can you become a better judge of whether a certain candidate will be the best fit for a particular job role, company culture and management style”

Nigel Cumberland (1967) British author and leadership coach

Source: Your Job-Hunt Ltd – Advice from an Award-Winning Asian Headhunter (2003), Successful Recruitment in a Week (2012) https://books.google.ae/books?idp24GkAsgjGEC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIGjAA#vonepage&qnigel%20cumberland&ffalse, Managing Teams in a Week (2013) https://books.google.ae/books?idqZjO9_ov74EC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIIDAB#vonepage&qnigel%20cumberland&ffalse, Secrets of Success at Work – 50 techniques to excel (2014) https://books.google.ae/books?id4S7vAgAAQBAJ&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIJjAC#vonepage&qnigel%20cumberland&ffalse, Finding and Hiring Talent in a Week – Teach Yourself series (2016) https://books.google.ae/books?idyEk9CgAAQBAJ&pgPT1&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEILDAD#vonepage&qnigel%20cumberland&ffalse, p.2 <br class="br">Context: However recruitment is also an art and involves developing people and leadership skills that cannot be totally taught. Only through experience can you become a better judge of whether a certain candidate will be the best fit for a particular job role, company culture and management style.

“.. no true artist ends with the style that he expected to have when he began,... it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.”

Robert Motherwell (1915–1991) American artist

The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

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Georg Brandes40

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