“One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.”

— R. G. Collingwood

Abstract
Outlines of a Philosophy of Art, 1925

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R. G. Collingwood 16

British historian and philosopher 1889–1943

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“The general conception here maintained is not new; it is one already familiar from the works of Coleridge, Croce and many others; it is the view that art is at bottom neither more nor less than imagination.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: Outlines of a Philosophy of Art, 1925, p. 3

“This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 70

“The art of cultural translation consists in oscillating between distance and nearness, between one’s own concepts and the native ones, or – to put it differently – making the exotic familiar and the familiar exotic.”

Thomas Hylland Eriksen (1962) Norwegian social anthropologist and professor

Source: What is Anthropology? (2nd ed., 2017), Ch. 2 : Key Concepts

“The one thing to say about art and life is that art is art and life is life, that art is not life and life is not art. A 'slice-of-life' art is no better or worse than a 'slice-of-art' life. Fine art is not a 'means of making a living' or a 'way of living a life', and a artist who dedicates his life to his art or his art to his life burdens his art with his life and his life with his art. Art that is a matter of life and death is neither fine nor free.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

“If the genius is an artist, then he accomplishes his work as art, but neither he nor his work of art has a telos outside him.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1840s, Two Ethical-Religious Minor Essays (1849), P. 108

“Concept art is first of all an art of which the material is concepts, as the material of e. g. music is sound. Since concepts are closely bound up with language, concept art is a kind of art of which the material is language.”

Henry Flynt (1940) American musician

Henry Flynt: "Essay: Concept Art." (1961) In: La Monte Young (ed.) An Anthology, 1963.

“Only through intuition does a work rise above more or less subjective expression. Different periods produce different feelings and conceptions, and in each period men differ. Consequently different art expressions even in a single period are not only logical but a tribute to the general development of art. Intuition always finds the way of progress, which is continuous growth toward a clearer establishment of the content of art: the unification of man with the universe.”

Piet Mondrian (1872–1944) Peintre Néerlandais

'A New Realism', p. 17
1940's, A New Realism', 1943-1945

“Art leads to a more profound concept of life, because art itself is a profound expression of feeling. The artist is born, and art is the expression of his overflowing soul. Because his soul is rich, he cares comparatively little about the superficial necessities of the material world; he sublimates the pressure of material affairs in an artistic experience.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 56
Search for the Real and Other Essays (1948)

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

“They speak of naturalism in opposition to modern painting. I would like to know if anyone has ever seen a natural work of art. Nature and art, being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted…”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312
Quotes, 1920's

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R. G. Collingwood 16

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