Quotes about art
page 14

“When I won the Booker Prize, I said that it was nice to see a work of art winning this prize and I've never been forgiven for that. When you get a prize, you're suppose to be humble. Somebody was interviewing me and said, 'This is a great day for Ireland'. I said, 'Why? Ireland didn't do it, I did it.' I wasn't forgiven for that either. I don't wear the green jersey and I don't hobnob with Michael D in the Park, although I quite like Michael D.”

John Banville (1945) Irish writer

John Banville: Who cares whodunnit? (2013)

“The school of art which Hulme started and Pound established.. diction, rhythm and metre were fully emancipated from formal artifice and the poet was free to act creatively under the laws of his own origination.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

Form in Modern Poetry(1932)

School, Law

“Acting is therefore the lowest of the arts, if it is an art at all.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Impressions and Opinions (1891): "Mummer-Worship".

“One never finishes learning about art. There are always new things to discover. Great works of art seem to look different every time one stands before them. They seem to be as inexhaustible and unpredictable as real human beings.”

Ernst Gombrich book The Story of Art

Source: The Story of Art (1978), p. 33.

Learning, Time

“The basic story line (in my new work) is about art leaving the realm of the artist, when the artist loses control of the work. It’s defined basically by two ends. One would be Louis XIV — that if you put art in the hands of an aristocracy or monarch, art will become reflective of ego and decorative — and on the other end of the scale would be Bob Hope — that if you give art to the masses, art will become reflective of mass ego and also decorative.”

Jeff Koons (1955) American artist

Constance Lewellen interview, 1986

Hope

“The private ownership of great art, its seclusion from the general view of men and women, let alone from that of interested amateurs and scholars, is a curious business. The literal disappearance of a Turner or a Van Gogh into some Middle Eastern or Latin-American bank vault to be kept as investment and collateral, the sardonic decision of a Greek shipping tycoon to put an incomparable El Greco on his yacht, where it hangs at persistent risk — these are phenomena that verge on vandalism.”

George Steiner (1929–2020) American writer

"The Cleric of Treason".
George Steiner: A Reader (1984)

Women, Men, Business, Decision

“Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs... It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw… I began feeling the need to break with what I was doing and to approach something else.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 74.

School, Way, Feeling, Training

“The art of marketing is largely the art of brand building. When something is not a brand, it will be probably be viewed as a commodity.”

Philip Kotler (1931) American marketing author, consultant and professor

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

“God manifests himself to us in the first degree through the life of the universe, and in the second degree through the thought of man. The second manifestation is not less holy than the first. The first is named Nature, the second is named Art.”

Victor Hugo book William Shakespeare

Dieu se manifeste à nous au premier degré à travers la vie de l’univers, et au deuxième degré à travers la pensée de l’homme. La deuxième manifestation n’est pas moins sacrée que la première. La première s’appelle la Nature, la deuxième s’appelle l’Art.

Part I, Book II, Chapter I
William Shakespeare (1864)

Life, God, Nature, Universe

“He who first shortened the labor of copyists by device of movable types was disbanding hired armies, and cashiering most kings and senates, and creating a whole new democratic world: he had invented the art of printing.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Bk. I, ch. 5.
1830s, Sartor Resartus (1833–1834)

World

“(Henry Clarendon IV:) "Is God happy with the poisoned cat dying alone in convulsions behind the billboard? Is God happy that life is cruel and that only the fittest survive? The fittest for what? Oh no, far from it. If God were omnipotent and omniscient in any literal sense, he wouldn’t have bothered to make the universe at all. There is no success where there is no possibility of failure, no art without the resistance of the medium. Is it blasphemy to suggest that God has his bad days when nothing goes right, and that God’s days are very, very long?"”

Raymond Chandler book Playback

Source: Playback (1958), chapter 17

Life, God, Happiness, Cats

“When lovely woman stoops to folly,
And finds too late that men betray,
What charm can soothe her melancholy?
What art can wash her guilt away?”

Oliver Goldsmith book The Vicar of Wakefield

Source: The Vicar of Wakefield (1766), Ch. 29, Song, st. 1.

Love, Men

“You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.... when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 15

People, World, Personality

“That master of arts, that dispenser of genius, the Belly.”
Magister artis ingenique largitor venter.

Persius (34–62) ancient latin poet

Prologue, line 10.
The Satires

“Villari took no notice of them because the idea of a coincidence between art and reality was alien to him. Unlike people who read novels, he never saw himself as a character in a work of art.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

"The Waiting" translated by James E. Irby (1959)

People, Idea, Reality, Reading

“Andy Warhol: I think everybody should like everybody.
Gene Swenson: Is that what Pop Art is all about?
Andy Warhol: Yes, it's liking things.”

Andy Warhol (1928–1987) American artist

Quote in 'What is Pop Art? Answers from 8 Painters', in 'Art News' 62, November 1963
1963 - 1967

Thinking

“The only really Christian art is that which, like St. Francis, does not fear being wedded to poverty. This rises far above art-as-ornament.”

André Gide (1869–1951) French novelist and essayist

“An Unprejudiced Mind,” p. 317
Pretexts: Reflections on Literature and Morality (1964)

Fear, Wedding

“We have already various treatises on Mechanics, but the plan of this one is entirely new. I intend to reduce the theory of this Science, and the art of solving problems relating to it, to general formulae, the simple development of which provides all the equations necessary for the solution of each problem. I hope that the manner in which I have tried to attain this object will leave nothing to be desired. No diagrams will be found in this work. The methods that I explain require neither geometrical, nor mechanical, constructions or reasoning, but only algebraical operations in accordance with regular and uniform procedure. Those who love Analysis will see with pleasure that Mechanics has become a branch of it, and will be grateful to me for having thus extended its domain.”

Joseph Louis Lagrange book Mécanique analytique

Mécanique analytique (1788) as quoted by E. W. Hobson, Mathematics, from the points of view of the Mathematician and of the Physicist (1912) an address delivered to the Mathematical and Physical Society of University College London, p.13. https://books.google.com/books?id=H7Y_AQAAIAAJ&pg=PA13

Love, Pleasure, Hope, Problem

“A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist.”

Leo Tolstoy (1828–1910) Russian writer

Настоящее произведение искусства делает то, что в сознании воспринимающего уничтожается разделение между ним и художником...
What is Art? (1897)

“The culture of a civilization is the art and literature through which it rises to consciousness of itself and defines its vision of the world.”

Roger Scruton (1944–2020) English philosopher

"What is Culture?" (p. 2)
Culture Counts (2007)

World, Literature

“Already, a conscious courage is coming to life. Here are some of the painters: Picasso, Georges Braque, Delaunay, Le Fauconnier.... they are highly enlightened, and do not believe in the stability of any system, even if it were to call itself classical art.... Their reason is poised between the pursuit of the fleeting and a mania for the eternal.”

Jean Metzinger (1883–1956) French painter

Note sur la Peinture (1910)

Life, Courage

“Art, rightly applied, provided humanity with the symbols, insight, and vicarious experience necessary to help one person place him- or herself in the shoes of another, and by so doing come to appreciate the commonality of human experience.”

Aberjhani (1957) author

(Love, Art, and Culture, p. 23).
Book Sources, The Wisdom of W.E.B. Du Bois (2003)

Shoe, Help, Personality

“He who aspires to master the art of expression must first of all consecrate himself completely to some great cause.”

Eugene V. Debs (1855–1926) American labor and political leader

The Secret of Efficient Expression (1911)

““Mani Madhava Chakyar when he portrayed Arjuna on the first evening and Ravana on the second, showed himself a master of the expression of the eye”
- Dr. V Raghavan, renowned scholar of Sanskrit dramaturgy, classical Indian dance and music, connoisseur of art and former director of Samskritaranga- Chennai, 1962.”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya Source: p. 21 http://www.google.co.in/books?id=O_U7AAAAMAAJ&dq=mani+madhava&q=mani+madhava&pgis=1#search Natya, Bharatiya Natya Sangh, 1962.

Music, Dance

“The cultural obsession with the art object is slowly disappearing and being replaced by what might be called "systems consciousness." Actually, this shifts from the direct shaping of matter to a concern for organizing quantities of energy and information. Seen another way, it is a refocusing of aesthetic awareness – based on future scientific-technological evolution – on matter-energy information exchanges and away from the invention of solid artefacts. These new systems prompt us not to look at the skin of objects, but at those meaningful relations within and between their visible boundaries.”

Jack Burnham (1931) American art historian

Source: Beyond Modern Sculpture, 1968, p. 369-70

Way, Future

“Did you know that in 1900 I had the bold idea of renewing German art?... First of all I needed to invent a technique of grasping everything while it was in motion, and it was Rembrandts drawings in the Kupferstichkabinett in Munich that showed me how. I practiced seizing things quickly in bold strokes, wherever I was, walking and standing still.... and in this way I learned how to depict movement itself, and I found new forms in the ecstasy and haste of this work.... and to these forms was added pure colour, as pure as the sun generates it.... in line with Goethe's theory [of colours]. It makes pictures much more colorful. Making wood-cuts, which I'd learnt as a fifteen-year-old from my father, helped me to stabler and simpler forms. And armed in this way I returned to Dresden.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

In a letter to Curt Valentin, 1937; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 38
1930's

Color, Way, Idea, Learning

“Careless she is with artful care,
Affecting to seem unaffected.”

William Congreve (1670–1729) British writer

"Amoret", line 7 (1710)

“To be perfectly ignorant in all the Terms of them is only tolerable in those, who think their Tongues of as little Use to them, as generally their Understandings are. Those whom Necessity has obliged to get their Bread by Manual Industry, where some Degree of Art is required to go along with it, and who have had some Insight into these Studies, have very often found Advantages from them sufficient to reward the Pains they were at in acquiring them. And whatever may have been imputed (how justly I'm not now to determine) to some other Studies, under the Notion of Insignificancy and Loss of Time; yet these, I believe, never caused Repentance in any, except it was for their Remissness in the Prosecution of them. And though Plato's Censure, that those who did not understand the 117 Prop. of the 10th Element, ought not to be ranked among Rational Creatures, wax unreasonable and unjust: Yet to give a Man the Character of Universal Learning that is destitute of a competent Knowledge in the Mathematics, is no less so.”

Jacques Ozanam (1640–1718) French mathematician

Preface
A Mathematical Dictionary: Or; A Compendious Explication of All Mathematical Terms, 1702

Pain, Mathematics, Understanding, Knowledge

“Early artists considered the human body, that forked radish, that defenseless starfish, a poor vehicle for the expression of energy, compared to the muscle-rippling bull and the streamlined antelope. Once more it was the Greeks, by their idealization of man, who turned the human body into an incarnation of energy, to us the most satisfying of all, for although it can never attain the uninhibited physical flow of the animal, its movements concern us more closely. Through art we can relive them in our own bodies, and achieve thereby that enhanced vitality which all thinkers on art, from Goethe to Berenson, have recognized as one of the chief sources of aesthetic pleasure.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. V: Energy

Pleasure, Animals

“It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 50

“I wanted to go into art history. Acting fell into my lap when a neighbor took pictures of me and showed them to an agent.”

Eva Mendes (1974) American actress

[Drop...Dead...Gorgeous..., February 2007, Maxim, http://www.maximonline.com/girls_of_maxim/girl_template.aspx?id=1260&src=cl2, 2007-01-23]

History

“The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: My life in sculpture, 1972, p. 40

War, World, Way, Nature

“The essence of modernism lies in the use of the characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Modernism used art to call attention to art. The limitations that constitute the medium of painting - the flat surface, the shape of the support, the properties of the pigment - came to be regarded as positive factors, and were acknowledged openly.”

Clement Greenberg (1909–1994) American writer and artist

1960s, Modernist Painting (1960)

Support, Painting

“.. and then it remains you to re-create your study, the fragment, into a painting. For remember; these are two [different] things: Nature is the material from which we must take. But don't be fooled by the modern theories, that imitating, copying nature would be 'everything'. The goal, the Art's aim is …. to move..”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

translation from original Dutch: Fons Heijnsbroek (original Dutch: citaat van Willem Roelofs, in het Nederlands:) ..en dan blijft u over, om de studie, het fragment, tot schilderij te herscheppen. Want vergeet niet, dat dat twee [verschillende] dingen zijn: De natuur is de stof, waaruit wij moeten putten. Maar laat u niet door de moderne (Jeltes: hij bedoelde hier waarschijnlijk de Belgische neo-impressionistische) theoriën wijsmaken, dat het navolgen, het copieeren der natuur 'alles' is. Het doel, het streven van de Kunst is.. ..te ontroeren.. Quote of Roelofs, in a letter to his pupil Frans Smissaert, 8 June 1886; as cited in Willem Roelofs (1822—1922), by Mr. H. F. W. Jeltes, in Maandschrift Elsevierweekblad... http://maandschrift.elsevierweekblad.nl/EGM/1922/01/19220101/EGM-19220101-0268/story.pdf, Jan. 1922, p. 222 1880's

Fools, Nature, Study, Painting

“What foreigners like most about Britain is not multiculturalism or tolerance or any of that new Labour nonsense. No, what they like is our history. Shakespeare. Blenheim Palace. Soldiers in preposterous hats who don't move. Yes, they may go and see some dead dogs in a modern art gallery but that's only because they've spent the morning on top of a sightseeing bus and they're freezing.”

Jeremy Clarkson (1960) English broadcaster, journalist and writer

Source: For Crying Out Loud! The World According to Clarkson Volume Three (2008), p. 17

Dogs, History, Dead

“What makes The Joker tick I wonder?” Fredric said. “I mean what are his real motivations?”
“Consider him at any level of conduct,” Bruce said slowly, “in the home, on the street, in interpersonal relations, in jail—always there is an extraordinary contradiction. He is dirty and compulsively neat, aloof and desperately gregarious, enthusiastic and sullen, generous and stingy, a snappy dresser and a scarecrow, a gentleman and a boor, given to extremes of happiness and despair, singularly well able to apply himself and capable of frittering away a lifetime in trivial pursuits, decorous and unseemly, kind and cruel, tolerant yet open to the most outrageous varieties of bigotry, a great friend and an implacable enemy, a lover and abominator of women, sweet-spoken and foul-mouthed, a rake and a puritan, swelling with hubris and haunted by inferiority, outcast and social climber, felon and philanthropist, barbarian and patron of the arts, enamored of novelty and solidly conservative, philosopher and fool, Republican and Democrat, large of soul and unbearably petty, distant and brimming with friendly impulses, an inveterate liar and astonishingly strict with petty cash, adventurous and timid, imaginative and stolid, malignly destructive and a planter of trees on Arbor Day—I tell you frankly, the man is a mess.”
“That’s extremely well said Bruce,” Fredric stated. “I think you’ve given a very thoughtful analysis.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“I was paraphrasing what Mark Schorer said about Sinclair Lewis,” Bruce replied.
“The Joker’s Greatest Triumph”.
Come Back, Dr. Caligari (1964)

Women, Happiness, Fools, Home

“Some other Course therefore must be taken to promote the Search of Knowledge. Some other kind of Art for Inquiry than what hath been hitherto made use of, must be discovered; the Intellect is not to he suffer'd to act without its Helps, but is continually to be assisted by some Method or Engine, which shall be as a Guide to regulate its Actions, so as that it shall not be able to act amiss: Of this Engine, no Man except the incomparable Verulam hath had any Thoughts, and he indeed hath promoted it to a very good pitch; but there is yet somewhat more to be added, which he seem'd to want time to compleat. By this, as by that Art of Algebra in Geometry, 'twill be very easy to proceed in any Natural Inquiry, regularly and certainly: And indeed it may not improperly be call'd a Philosophical Algebra, or an Art of directing the Mind in the search after Philosophical Truths, for as 'tis very hard for the most acute Wit to find out any difficult Problem in Geometry. without the help of Algebra to direct and regulate the Acts of the Reason in the Process from the question to the quœsitum, and altogether as easy for the meanest Capacity acting by that Method to compleat and perfect it, so will it be in the inquiry after Natural Knowledge.”

Robert Hooke (1635–1703) English natural philosopher, architect and polymath

"The Present State of Natural Philosophy, and wherein it is deficient," The Posthumous Works of Robert Hooke https://books.google.com/books?id=6xVTAAAAcAAJ (1705) ed., Richard Waller, pp. 6-7.

Truth, Search, Question, Nature

“To know oneself as well as one can; to avoid self-deception and foster no illusions; to learn what one can about the plain natural truth of things, and make one's valuations accordingly; to waste no time in speculating upon vain subtleties, upon "things which are not and work not"; — this perhaps is hardly the aim of an academic philosophy, but it is what a practical philosophy keeps steadily in view. Because the Meditations of Marcus Aurelius so consistently does keep just this in view, it still remains, and for those who can take it will probably always remain, the best of handbooks to the art of living.”

Albert Jay Nock (1870–1945) American journalist

Source: Memoirs of a Superfluous Man (1943), p. 304-305

Truth, Nature, Learning, Time

“In particular, this question, to the sculptor:
If a drawing is traced, even with the greatest precision, from another drawing, you will perceive that the one is a copy. Although the differences may deviate less than half a hair, recognizable only by perceptual sensitivity, unanimously we rule the work of the intruder's hand as non-art.
But where is the line of true art—when the sculptor's process often introduces the hands of a plaster caster, the mold maker, the grinder and the polisher, and the patina applier, all these processes and foreign hands intruding deviations upon what was once the original work?”

David Smith (1906–1965) American visual artist (1906-1965)

1950s Source: 'Questions to Students', one from a long list of questions, in an undated typescript among the David Smith Papers; probably written c. 1953-54; as quoted at website David Smith State http://www.davidsmithestate.org/statements.html

Question, Drawing

““The depth of creativity of the author (Mani Madhava Chakyar) is evident from the introductory Shlokas (hymns in Sanskrit) itself ”
- Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature)”

Mani Madhava Chakyar book Nātyakalpadrumam

Nātyakalpadrumam

Literature

“As translators, we must be courageous, free and passionate about what we are doing. We must constantly strive to enrich our own cultural and linguistic repertoire. We must read, we must write. We must be prepared to rethink, to revise, to rewrite, constantly. We must have endless time and patience. Deadlines are there to be ignored, to be kept alive. Above all we must play with words, ideas and feelings. Delight in them. We must never lose sight of the playfulness and creative licence that are the lifeblood of art and literature, and hence of translation.”

John Minford (1946) New Zealand sinologist

Public Lecture (2018)

Feeling, Literature, Idea, Courage

“My friends tell me I must stop saying in public that I ‘hate all my novels’. What I mean is that I am profoundly dissatisfied with everything I have done simply because it is not good enough by my standards. But my standard is perfection, and as we know, perfection is not allowed to such as us. On the other hand, I begin every new book in the complete conviction that this time, this time I shall get it right. Rationally I know this will not be so, but art has its reasons.”

John Banville (1945) Irish writer

Fully Booked: Q & A with John Banville (2012)

Hate, Books, Time, Perfection

“Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say.”

Clement Greenberg (1909–1994) American writer and artist

On Matisse http://www.sharecom.ca/greenberg/matisse.html at sharecom.ca, 1973: On Henri Matisse 1970s

People, Way, Feeling, Painting

“There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement. This special movement was discovered by the futurists as a new and hitherto unknown phenomenon in art, a phenomenon which some Futurists were delighted to reflect.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote c. 1915, in: 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
1910 - 1920

“I see myself in the contestants. I’m not the one to tell people, ‘You have to sing this way or that way.’ Talent is something God gave you when you were born. I don’t want to give them technical advice. I love mistakes. When talking about art, the most important thing is to not be perfect, … I want to be a fan, and to be a fan you have to conquer my heart. I don’t want to give marketing advice.”

Laura Pausini (1974) Italian singer

Los Angeles Daily News (October 16, 2014)

Love, God, People, Way

“GRONINGEN, BERLIN, MOSCOW, PARIS 1923
Start of the violet season
Reader
As we are convinced that it is not too LATE, we will speak.
Time is running, honestly.... it has become necessary now to do something, before it is too late
There must be witnessing and speaking..
.. Art is everywhere. She is thrown us people on our jackets by the birds. In every infant with weak intestines, the latent seed is laid for an artist..
Our first publication will soon be published. We urgently invite you to become a fellow reader [of the upcoming art-magazine 'The Next Call'].... We count on your DEEDS in the white season with the black shadows..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands):
GRONINGEN, BERLIJN, MOSKAU, PARIJS 1923
Aanvang van het violette jaargetijde
Lezer..
..Aangezien wij dus overtuigd zijn dat het nog niet TE LAAT is, zullen wij spreken.
Het wordt tijd, waarachtig.. ..meer dan tijd dat er iets gedaan wordt.
Er MOET getuigd en gesproken worden.
….Kunst is overal. Zij wordt den mensch als het ware door de vogels op de jas geworpen. In elke zuigeling met zwakke ingewanden wordt de latente kiem gelegd voor een kunstenaar..
Ons eerste geschrift verschijnt binnenkort. Wij nodigen u dringend uit medelezer te worden.. [van het komende kunsttijdschrift ‘The Next Call'].. ..Wij rekenen op uwe DADEN in het witte jaargetijde met de zwarte schaduwen..
Quote from Werkman's Manifesto: ' Aanvang van het violette jaargetijde / Start of the violet season' - also known as 'Roze Pamflet / Pink Pamphlet', Sept. 1923; in the collection of Stedelijk Museum, Amsterdam (transl: Fons Heijnsbroek)
1920's

People, Bird, Time, Season

“If politics is the art of the possible, research is surely the art of the soluble. Both are immensely practical-minded affairs.”

Peter Medawar (1915–1987) scientist

Review of Arthur Koestler’s The Act of Creation, in the New Statesman, 19 June 1964
1960s

“Ingres was one of those artists to whom the outline was something sacred and magical, and the reason is that it was the means of reconciling the major conflict in his art, the conflict between abstraction and sensibility. The difference between what we see and a sheet of white paper with a few thin lines on it is very great. Yet this abstraction is one which we seem to have adopted almost instinctively at an early stage in our development not only in Neolithic graffiti but in early Egyptian drawings. And in spite of its abstract character, the outline is responsive to the least tremor of sensibility.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 4: Ingres I: The Years of Inspiration

Drawing

“As a noun, design is the named (although sometimes unnamable) structure or behavior of a system whose presence resolves or contributes to the resolution of a force or forces on that system. A design thus represents one point in a potential decision space. A design may be singular (representing a leaf decision) or it may be collective (representing a set of other decisions).
As a verb, design is the activity of making such decisions. Given a large set of forces, a relatively malleable set of materials, and a large landscape upon which to play, the resulting decision space may be large and complex. As such, there is a science associated with design (empirical analysis can point us to optimal regions or exact points in this design space) as well as an art (within the degrees of freedom that range beyond an empirical decision; there are opportunities for elegance, beauty, simplicity, novelty, and cleverness).
All architecture is design but not all design is architecture. Architecture represents the significant design decisions that shape a system, where significant is measured by cost of change.”

Grady Booch (1955) American software engineer

Grady Booch (2006) " On design https://www.ibm.com/developerworks/community/blogs/gradybooch/entry/on_design?lang=en" cited in: Frank Buschmann, ‎Kevlin Henney, ‎Douglas C. Schmidt (2007) Pattern-Oriented Software Architecture, On Patterns and Pattern Languages. p. 214

Beauty, Behavior, Optimism, Decision

“Mnemonists, people with freakish memories and no other virtues, were capable of playing dazzling games, dismaying and confusing the other participants by their rapid muster of countless ideas. In the course of time such displays of virtuosity fell more and more under a strict ban, and contemplation became a highly important component of the Game. Ultimately, for the audiences at each Game it became the main thing. This was the necessary turning toward the religious spirit. What had formerly mattered was following the sequences of ideas and the whole intellectual mosaic of a Game with rapid attentiveness, practiced memory, and full understanding. But there now arose the demand for a deeper and more spiritual approach. After each symbol conjured up by the director of a Game, each player was required to perform silent, formal meditation on the content, origin, and meaning of this symbol, to call to mind intensively and organically its full purport. The members of the Order and of the Game associations brought the technique and practice of contemplation with them from their elite schools, where the art of contemplation and meditation was nurtured with the greatest care. In this way the hieroglyphs of the Game were kept from degenerating into mere empty signs.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

People, School, Way, Game

“Sheer necessity,—the proper parent of an art so nearly allied to invention.”

Richard Brinsley Sheridan The Critic

Act I, sc. ii.
The Critic (1779)

Parent

“When I look at a work of Art I ask myself: does it inspire me, does it touch and move me, do I learn something from it, does it startle or amaze me - do I get excited, upset? That is the test any artwork has to pass: can it create an emotional impact on a human being even when he has no education or any information about art? I’ve always had a problem with art that you can only understand if you have a degree in art history, and I have a problem with theories. Most of them are bullshit anyway. Most critics and theorists have little respect for artists, and I think the importance of theory in art is totally overrated. Real art is self-evident. Real art is intense, enchanting, exciting and unsettling; it has a quality and magic that you cannot explain. Art is not logic, and if you want to experience it, your mind and rational thinking will be of little help. Art is something spiritual that you can only experience with your senses, your heart, your soul.”

Gottfried Helnwein (1948) Austrian photographer and painter

Interview by Brendan Maher http://www.gottfried-helnwein-interview.com/index.html, Start, Ireland, November 24, 2004

Education, Soul, History, Understanding

“The buttocks are the most aesthetically pleasing part of the body because they are non-functional. Although they conceal an essential orifice, these pointless globes are as near as the human form can ever come to abstract art.”

Kenneth Tynan (1927–1980) English theatre critic and writer

"Meditations on Basic Baroque," IV (1966), p. 432
Tynan Right and Left (1967)

Parting

“We're free and easy. We're not very authoritative. We have no doctrine, no dogma. It is a community of mostly people who are interested in the arts, literature, photography, music.”

Irving Fiske (1908–1990) American writer

1984 interview, quoted in The Burlington Free Press (6 May 1990), p. 5 https://www.newspapers.com/newspage/201083677/

People, Music, Communication, Literature

“I decided (after listening to a "talk radio" commentator who abused, vilified, and scorned every noble cause to which I had devoted my entire life) that I was both a humanist and a liberal, each of the most dangerous and vilified type. I am a humanist because I think humanity can, with constant moral guidance, create a reasonably decent society. I am terrified of restrictive religious doctrine, having learned from history that when men who adhere to any form of it are in control, common men like me are in peril. I do not believe that pure reason can solve the perpetual problems unless it is modified by poetry and art and social vision. So I am a humanist. And if you want to charge me with being the most virulent kind—a secular humanist—I accept the accusation.”

James A. Michener (1907–1997) American author

Interview, Parade magazine (24 November 1991)

Life, Men, History, Problem

“The great tragedy is that they're removing art completely, not because they're putting more science in, but because they can't afford the art teachers or because somebody thinks it's not useful. An enlightened society has all of this going on within it. It's part of what distinguishes what it is to be human from other life forms on Earth — that we have culture.”

Neil deGrasse Tyson (1958) American astrophysicist and science communicator

Global Ideas from Pluto's Challenger (May 21, 2009)

Life, Thinking, Teachers, Science

“After all, if you believe that no one was ever corrupted by a book, you also have to believe that no one was ever improved by a book (or a play or a movie). You have to believe, in other words, that all art is morally trivial and that, consequently, all education is morally irrelevant. No one, not even a university professor, really believes that.”

Irving Kristol (1920–2009) American columnist, journalist, and writer

New York Times Magazine, March 28, 1971.
1970s

Books, Education, Universe

“In 1987 a Civil Service inquiry decided that the pay of the Director of the Tate Gallery should match that of the Director of the much larger Victoria & Albert Museum and of the National Gallery, where the pictures were regarded as being much more important, because, and here I quote, "the Director of the Tate has to deal with the very difficult problem of modern art."”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Quotes, Problem

“My concern is never art, but always what art can be used for.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“Strange though this may sound, not knowing where one is going – being lost, being a loser – reveals the greatest possible faith and optimism, as against collective security and collective significance. To believe, one must have lost God; to paint, one must have lost art.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

God, Faith, Optimism, Painting

“Had the acute-angled rabble been all, without exception, absolutely destitute of hope and of ambition, they might have found leaders in some of their many seditious outbreaks, so able as to render their superior numbers and strength too much even for the wisdom of the Circles. But a wise ordinance of Nature has decreed that, in proportion as the working-classes increase in intelligence, knowledge, and all virtue, in that same proportion their acute angle (which makes them physically terrible) shall increase also and approximate to the comparatively harmless angle of the Equilateral Triangle. Thus, in the most brutal and formidable of the soldier class — creatures almost on a level with women in their lack of intelligence — it is found that, as they wax in the mental ability necessary to employ their tremendous penetrating power to advantage, so do they wane in the power of penetration itself.

How admirable is this Law of Compensation! And how perfect a proof of the natural fitness and, I may almost say, the divine origin of the aristocratic constitution of the States in Flatland! By a judicious use of this Law of Nature, the Polygons and Circles are almost always able to stifle sedition in its very cradle, taking advantage of the irrepressible and boundless hopefulness of the human mind. Art also comes to the aid of Law and Order. It is generally found possible — by a little artificial compression or expansion on the part of the State physicians — to make some of the more intelligent leaders of a rebellion perfectly Regular, and to admit them at once into the privileged classes; a much larger number, who are still below the standard, allured by the prospect of being ultimately ennobled, are induced to enter the State Hospitals, where they are kept in honourable confinement for life; one or two alone of the more obstinate, foolish, and hopelessly irregular are led to execution.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 3. Concerning the Inhabitants of Flatland

Life, Wisdom, Women, Law

“This is an epistle from the letter ‘Thá’ unto Him Who will be made manifest through the power of Truth — He Who is the All-Glorious, the Best Beloved — to affirm that all created things as well as myself bear witness for all time that there is none other God but Thee, the Omnipotent, the Self-Subsisting; that Thou art God, there is no God besides Thee and that all men shall be raised up to life through Thee.”

Báb (1819–1850) Iranian prophet; founder of the religion Bábism; venerated in the Bahá'í Faith

Tablet to ‘Him Who Will Be Made Manifest’

Life, Men, God, Truth

“concerning this selfstyled world's greatest and most generous literary figure: who had just arrived in our nation's capitol, attired in half a GI uniform and ready to be hanged as a traitor by the only country which ever made even a pretense of fighting for freedom of speech
Re Ezra Pound — poetry happens to be an art; and artists happen to be human beings.”

E.E. Cummings (1894–1962) American poet

Re Ezra Pound (p. 69)
i : six nonlectures (1953)

World, Freedom, Fight, Country

“My psyche was scarred in my art student days in Europe, just after World War II, by an ineradicable memory of war-wracked innocents. In their eyes lurk all of mankind's questions and answers. If mankind would look deep into the soul of the very young, he wouldn't need a road map. I wanted other people to know about those eyes, too. I want my paintings to clobber you in the heart and make you yell, "[DO SOMETHING]!"”

Walter Keane (1915–2000) American plagiarist

Page 42.
1965, Cited by Jane Howard

War, People, World, Soul

“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

“Mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Das Kunstwerk im Zeitalter seiner Reproduzierbarkeit The Work of Art in the Age of Mechanical Reproduction (1935)

Sense, Dependency

“The difference between the first- and second-best things in art absolutely seems to escape verbal definition — it is a matter of a hair, a shade, an inward quiver of some kind — yet what miles away in the point of preciousness!”

William James (1842–1910) American philosopher, psychologist, and pragmatist

To Henry Rutgers Marshall (7 February 1899)
1920s, The Letters of William James (1920)

“The immobility that the artist creates is not at all that of the photograph. A worth of art contains latent life, possibility of movement; a grimace made eternal does not represent life. One always talks of w:Donatello, but never of della Quercia. Yet della Qercia invented w:Michelangelo’s style before Michelangelo.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 408

Life

“Conceptual Art in the broadest sense was a kind of laboratory for innovations in the rest of the century. An unconscious international energy emerged from the raw materials of friendship, art history, interdisciplinary readings and a fervor to change the world and the ways artists related to it.”

Lucy R. Lippard (1937) American art curator

Quote in: Ken Johnsonoct. " Planter of the Seeds Of Mind-Expanding Conceptualism http://www.nytimes.com/2012/10/19/arts/design/lucy-r-lippard-and-conceptual-art-at-brooklyn-museum.html." in New York Times, Oct. 18, 2012.

Friendship, World, Way, History

“Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be, to realise as sacred art anything which so far had been regarded as of little value and pitiful.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

quote from 1988
1981 - 1990
Source: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 38

Quotes

“Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public

Reality, Decision, Science, Housing

“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

Life, Death, Way

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Way, Idea, Painting, Personality

“I cannot be convinced that great artists are moralists. Art is first appearances, then meaning.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 166

Appearance

“My thinking at that time was determined by a kind of wilfully repressed pleasure[Freude] in Freud, and I wanted to be as artistically direct as plumber illustrating the history of art with a spanner.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 12 (Introductory text to the portfolio Transfusion,1990.)

Pleasure, History, Thinking, Time

“When art is a form of behaviour, software predominates over hardware in the creative sphere. Process replaces product in importance, just as system supersedes structure.”

Roy Ascott (1934) British academic

Behaviourables and Futuribles, manifesto, 1967; as cited in: Edward A. Shanken. " Cybernetics and Art: Cultural Convergence in the 1960s http://www.responsivelandscapes.com/readings/CyberneticsArtCultConv.pdf." 2002

“There was a little white statue there. Now I'm not artistic. I saw it was of a fellow with no clothes on - I always wonder why it's Art to take your clothes off: they never put in the goose pimples - and this fellow was wrapped in chains. He didn't look as if he was enjoying himself, and small wonder.”

Diana Wynne Jones book The Homeward Bounders

Source: The Homeward Bounders (1981), p. 13.

Clothes

“The art of motherhood involves much silent, unobtrusive self-denial, an hourly devotion which finds no detail too minute.”

Honoré de Balzac (1799–1850) French writer

La science de la mère comporte des mérites silencieux, ignorés de tous, sans parade, une vertu en détail, un dévouement de toutes les heures.
Part I, ch. XLV.
Letters of Two Brides (1841-1842)

“I am interested primarily in the vast field of experience and sensation which neither literature nor a purely plastic art deals with.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

Letter to Charles Sawyer of Addison Gallery of Art October 19 , 1939
1911 - 1940

Literature

“I have always been a great believer in today. Most people live either in the past or in the future, so that they really never live at all. So many people are busy worrying about the future of art or society, they have no time to preserve what is. Utopia is in the moment. Not in some future time, some other place, but in the here and now, or else it is nowhere.”

Alfred Stieglitz (1864–1946) American photographer

Modern Art and America: Alfred Stieglitz and His New York Galleries, Sarah Greenough, Washington: National Gallery of Art. 2000, pp. 26–53; as quoted on Wikipedia

People, Business, Time, Past

“In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be conscious of the social context of art seems to automatically entail a leftist orientation. But a theory is possible that is both avant-garde and capitalist. Marxism was one of Rousseau’s nineteenth-century progeny, energized by faith in the perfectabilty of man. Its believed that economic forces are the primary dynamic force in history is Romantic naturism in disguise. … Marxism is the bleakest of anxiety-formations against the power of cthonian mothers.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 36

Faith, History, Literature, Nature

“Let us not attempt, from the pontifical throne of realism-at-any-cost, to condemn all the art forms which have evolved since the first half of the nineteenth century for we would then fall into the Proudhonian mistake of returning to the past, of putting a straitjacket on the artistic expression of the man who is being born and is in the process of making himself.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Man and Socialism in Cuba (1965)

Past

“He was the first highly educated and cultured Filipino to direct he attention of his countrymen to their illustrious men, and to their art, literature, poetry and music.”

Epifanio de los Santos (1871–1928) Filipino politician

As quoted by Hartendorp “Don Pañong – Genius" in Philippine Magazine (September 1929).
BALIW

Men, Education, Music, Literature

“… Nothing is so simple as the subject matter of his works. The two greatest of his creations, the character of Satan and the character of Eve, are two of the simplest—the latter probably the very simplest—in the whole field of literature. On this side, Milton's art is classical. On the other hand, in no writer is the imagery more profuse, the illustrations more various, the dress altogether more splendid; and in this respect the style of his art seems romantic and modern. In real truth, however, it is only ancient art in a modern disguise: the dress is a mere dress, and can be stripped off when we will.—we all of us do perhaps in memory strip it off for ourselves.”

Walter Bagehot (1826–1877) British journalist, businessman, and essayist

[ART. VII—John Milton, National Review, July 1859, 9, 150–186, https://babel.hathitrust.org/cgi/pt?id=mdp.39015027193559;view=1up;seq=184] (quote from p. 174)
John Milton (1859)

Truth, Literature, Memory

“Art is a human activity consisting in this, that one consciously, by means of certain external symbols, conveys to others the feelings one has experienced, whereby people so infected by these feelings, also experience them.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

People, Feeling

“It is true that an observer, under that softening influence of the fine arts which makes other people’s hardships picturesque, might have been delighted with this homestead called Freeman’s End.”

George Eliot book Middlemarch

Middlemarch (1871)

People

“…Wisdom says: be strong! Then canst thou bear more joy. Be not animal; refine thy rapture! If thou drink, drink by the eight and ninety rules of art: if thou love, exceed by delicacy; and if thou do aught joyous, let there be subtlety therein!”

Aleister Crowley book The Book of the Law

The Book of the Law (1904)

Love, Wisdom, Drink, Strong

“Poetry is a collaborative art, and yet—as it is being created—the most solitary and 'individual' of activities.”

Michael Schmidt (poet) (1947) American poet

Reading Modern Poetry, London, 1989

“well boss
mehitabel the cat
has reappeared in her old
haunts with a
flock of kittens

archy she said to me
yesterday
the life of a female
artist is continually
hampered what in hell
have i done to deserve
all these kittens
i look back on my life
and it seems to me to be
just one damned kitten
after another
i am a dancer archy
and my only prayer
is to be allowed
to give my best to my art
but just as i feel
that i am succeeding
in my life work
along comes another batch
of these damned kittens
it is not archy
that i am shy on mother love
god knows i care for
the sweet little things
curse them
but am i never to be allowed
to live my own life
i have purposely avoided
matrimony in the interests
of the higher life
but i might just
as well have been a domestic
slave for all the freedom
i have gained
i hope none of them
gets run over by
an automobile
my heart would bleed
if anything happened
to them and i found it out
but it isn t fair archy
it isn t fair
these damned tom cats have all
the fun and freedom
if i was like some of these
green eyed feline vamps i know
i would simply walk out on the
bunch of them and
let them shift for themselves
but i am not that kind
archy i am full of mother love
my kindness has always
been my curse
a tender heart is the cross i bear
self sacrifice always and forever
is my motto damn them
i will make a home
for the sweet innocent
little things
unless of course providence
in his wisdom should remove
them they are living
just now in an abandoned
garbage can just behind
a made over stable in greenwich
village and if it rained
into the can before i could
get back and rescue them
i am afraid the little
dears might drown
it makes me shudder just
to think of it
of course if i were a family cat
they would probably
be drowned anyhow
sometimes i think
the kinder thing would be
for me to carry the
sweet little things
over to the river
and drop them in myself
but a mother s love archy
is so unreasonable
something always prevents me
these terrible
conflicts are always
presenting themselves
to the artist
the eternal struggle
between art and life archy
is something fierce
yes something fierce
my what a dramatic
life i have lived
one moment up the next
moment down again
but always gay archy always gay
and always the lady too
in spite of hell
well boss it will
be interesting to note
just how mehitabel
works out her present problem
a dark mystery still broods
over the manner
in which the former
family of three kittens
disappeared
one day she was talking to me
of the kittens
and the next day when i asked
her about them
she said innocently
what kittens
interrogation point
and that was all
i could ever get out
of her on the subject
we had a heavy rain
right after she spoke to me
but probably that garbage can
leaks so the kittens
have not yet
been drowned”

Don Marquis (1878–1937) American writer

mehitabel and her kittens http://donmarquis.com/reading-room/kittens/ archy and mehitabel (1927)

Love, Life, Wisdom, God

“I used to go and flatten my nose against that window and absorb all I could of his [Degas'] art. It changed my life. I saw art then as I wanted to see it.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote, c. 1875; as cited by Nancy Mowll Mathews, in Mary Cassatt: A Life, Yale University Press, New Haven, 1998, p. 114 - ISBN 978-0-585-36794-1
Cassatt admired Edgar Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in Paris, 1875

Life, Change

“The basic law underlying all occult healing, may be stated to be as follows: Law I: All disease is the result of inhibited soul life, and that is true of all forms in all kingdoms. The art of the healer consists in releasing the soul, so that its life can flow through the aggregate of organisms which constitute any particular form. It is interesting to note that the attempt of the scientist to release the energy of the atom, is of the same general nature as the work of the esotericist when he endeavours to release the energy of the soul. In this release the nature of the true art of healing is hidden. Herein lies an occult hint.”

Alice A. Bailey (1880–1949) esoteric, theosophist, writer

Source: A Treatise on the Seven Rays: Volume 4: Esoteric Healing (1953) p. 5

Life, Disease, Law, Soul

“I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.... wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art.”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 47 : in a letter to Käthe Steinitz (24 June 1945)

Life, People, Waiting, Reading

“Plainly Hugo was the greatest man of letters of his day. It has been given to few or none to live a life so full of effort and achievement, so rich in honour and success and fame. Born almost with the century, he was a writer at fifteen, and at his death he was writing still; so that the record of his career embraces a period of more than sixty years. There is hardly a department of art to a foremost place in which he did not prove his right. From first to last; from the time of Chateaubriand to the time of Zola, he was a leader of men; and with his departure from the scene the undivided sovereignty of literature became a thing of the past like Alexander's empire.”

William Ernest Henley (1849–1903) English poet, critic and editor

"Hugo"
Views and Reviews (1889)

Life, Death, Men, Literature

“My mother's favourite paraphrase is one known in our house as David's because it was the last he learned to repeat. It was also the last thing she read —
Art thou afraid his power shall fail When comes thy evil day? And can an all-creating arm Grow weary or decay?
I heard her voice gain strength as she read it, I saw her timid face take courage, but when came my evil day, then at the dawning, alas for me, I was afraid.”

J. M. Barrie book Margaret Ogilvy

Source: Margaret Ogilvy (1897), Ch. 10

Courage, Learning, Evil, Reading

“art is fruit growing out of man like the fruit out of a plant like the child out of the mother. While the fruit of the plant grows independent forms and never resembles a balloon or a president in a cutaway suit the artistic fruit of man shows for the most part a ridiculous resemblance to the appearance of other things. Reason tells man to stand above nature and to be the measure of all things. thus man thinks he is able to live and to create against the laws of nature and he creates abortions. through reason man became a tragic and ugly figure. i dare say he would create even his children in the form of vases with umbilical cords if he could do so. reason has cut man off from nature.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Arp wrote this in lowercase letters
Notes From a Dada Diary; published, 1932 in 'Transition magazine'; as quoted (in lowercase letters), “Soby, James Thrall. Arp: The Museum of Modern Art. Doubleday, New York, 1958, Print. p. 17
1930s

Children, Law, Nature, Thinking

“Mathematical activity has taken the forms of a science, a philosophy and an art.”

George Frederick James Temple (1901–1992) British mathematician

100 Years of Mathematics: a Personal Viewpoint (1981)

Mathematics, Science

“I have the same idea with all my books: an attempt to come close to the core of reality, the structure of reality, as opposed to the merely superficial. The realistic novel is remote from art. A novel should heighten life, should give one an illuminating experience; it shouldn't set out what you know already. I just muddle away at it. One gets flashes here and there, which help. I am not a philosopher or an intellectual. Practically anything I have done of any worth I feel I have done through my intuition, not my mind - which the intellectuals disapprove of. And that is why I am anathema to certain kinds of Australian intellectual.”

Patrick White (1912–1990) English-born Australian writer

In The Making (1970)

Life, Books, Feeling, Idea

“One must build to the praise of a Being above, to build the noblest memorial of himself. Then, Angelo may verily " hang the Pantheon in the air." Then the unknown builder, whose personality disappears in his work, may stand an almost inspired mediator between the upward-looking thought and the spheres overhead. Each line then leaps with a swift aspiration, as the vast structure rises, in nave and transept into pointed arch and vanishing spire. The groined roof grows dusky with majestic glooms; while, beneath, the windows flame, as with apocalyptic light of jewels. Angelic presences, sculptured upon the portal, invite the wayfarer, and wave before him their wings of promise. Within is a worship which incense only clouds, which spoken sermons only mar. The building itself becomes a worship, a Gloria in Excelsis, articulate in stone; the noblest tribute offered on earth, by any art, to Him from whom its impulse came, and with the ineffable majesty of whose spirit all skies are filled.”

Richard Salter Storrs (1821–1900) American Congregational clergyman

Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 499.
Dictionary of Burning Words of Brilliant Writers (1895)

Angels, Light, Memory, Personality

“Feeling is an art and, like any other art, can be acquired by taking pains.”

Samuel Butler (1835–1902) novelist

Feeling
The Note-Books of Samuel Butler (1912), Part VI - Mind and Matter

Pain, Feeling

“I don't understand how many painters can be so short-sighted to value art from earlier periods as completely worthless. Every art is an expression of an era and only for that reason already it is interesting. A Rembrandt has gone other ways, but he has certainly also pursued the highest goals. That one can assert: it is not necessary for a painter to have an impression when he is painting an Image, is nonsense. Certainly an artist, if he is really an artist, always has an inner urge to create an Image and thus sees an impression for himself that he may not always be able to explain, because deeper feelings are very difficult to grasp in words, but he has an impression - otherwise he only makes paintings as pure brain work. And intellectual art I can't bear. You can not make abstract art as something on its own. One feel various forms in their inner coherence. For example: when reading a fairy tale I can get the idea to paint a forest in completely abstract forms with motifs of trees. Every abstract form has an inner meaning for me.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: Ik begrijp niet hoe veel schilders zo kortzichtig kunnen zijn kunst uit vroegere perioden als volkomen waardeloos aan te merken. Elke kunst is een uiting van een tijdperk en alleen daarom al interessant. Een Rembrandt is andere wegen gegaan maar heeft zeker ook de hoogste doelen nagestreefd. Dat men beweren kan: een schilder hoeft bij het schilderen van een Bild geen voorstelling te hebben, is onzin. Zeker heeft een kunstenaar, als hij werkelijk artiest is, altijd een innerlijke drang een Bild te scheppen en ziet dus een Bild voor zich dat hij misschien niet altijd verklaren kan omdat diepere gevoelens heel moeilijk in woorden te vatten zijn, maar een voorstelling heeft hij - anders maakt hij schilderijen en is het puur hersenwerk. En intellectuele kunst staat mij zeer tegen. Abstracte kunst is niet op zich zelf staand te maken. Men voelt verscheidene vormen in hun innerlijke samenhang. Bijvoorbeeld: bij het lezen van een sprookje kan ik de ingeving krijgen een bos in geheel abstracte vormen met boommotieven te schilderen. Elke abstracte vorm heeft voor mij een innerlijke betekenis.
Quote of Jacoba van Heemskerck in her letter of 1 May 1920, to Gustave Bock in Giessen, Germany; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5) Waanders, Zwolle, 2005, p. 168
1920's

Way, Feeling, Idea, Understanding

Quotes about art page 14

Quotes about art
page 14