Quotes about art (5831 quotes, page 18)

“You are known among us as a protector of the arts so you must remember that, of all the arts, for us the cinema is the most important.”

Vladimir Lenin (1870–1924) Russian politician, led the October Revolution

Из всех искусств важнейшим для нас является кино.
Conversation with A.V.Lunacharsky (April 1919); also quoted in A Concise History of the Cinema: Before 1940 (1971) by Peter Cowie, p. 137, Complete Works of V.I.Lenin - 5th Edition - Vol. 44. - p. 579.
1910s

“Art remains a sure refuge, the hope of a reason in life from now on, and the consoling thought that little beauty manifests itself in our lives, and that we are continuing the work of Creation... Therefore the work of art has merit, inscribed in the marvelous beauty of flowers, of light, in the proportion of trees and shape of waves, and the perfection of faces; to inscribe our poor and lamentable life of suffering, of hope and of thought.”

Maurice Denis (1870–1943) French painter

Quote, 24 March 1895, from Denis' Journal; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [16]
1890 - 1920

Life , Beauty , Hope , Flowers

“I suppose I remain.... a believer in Art for Art's sake rather than in Art for the sake of religion, of social justice or of national glory. Nothing is more alien to me than an art which sets out to serve other purposes than those implied in the work of art in itself..”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 107

Religion , Justice

“The role of art is to give food for thought, to act as a stimulant, to entice the onlooker to inspect things, people, emotions, from a new point of view.”

Jim Ede (1895–1990) art collector

Undated mauscript c 1941.Kettle's Yard archive,Cambridge.

People , Food

“[Art] can speak its own language only as long as the images are alive which refuse and refute the established order.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), p. 62

“You can't ask a man to talk sensibly about the art of painting if he simply doesn't know anything about it. But by God, how can he [ Zola was his youth friend, who used Cezanne as a model in Zola's novel 'L'Oeuvre'] dare to say that a painter is done because he has painted one bad picture? When a picture isn't realized, you pitch it in the fire and start another one.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard in Cezanne's studio in Aix - after the death of Zola in 1902; as quoted in Cézanne, Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, after 1900

God , Youth , Painting

“The operational sciences hoped to nourish business management, which however largely ignored them, and the latter continues to be undernourished by the business schools which are fairly broad but shallow everywhere. By over focus on short-range financial values, business management in the United States has lost a dozen major markets to the Japanese, added pollution in all its forms, and enriched itself out of all proportion to its value as just one factor of production.
Action science, developed by the social sciences over many years in relative isolation from the applied physical sciences, and which might otherwise have humanized them and made engineering more productive, was doomed to fail by being on one end of the two-culture problem wherein science and the humanities do not even speak the same language.
I could go on listing a few dozen paradigms: art, law, computer software design, medicine, politics, and architecture, each addressed to a certain context, level, or phase, each good in itself, but each limited to the fields of its origin and its purposes. The methodological problem is the same as if, in designing any large system, each subsystem designer were left to design each subsystem to the best requirements he knew. The overall requirement might not be met; overall harmony could not be achieved, and conflict could ensue to cause failure at the system level.
What is envisioned is a new synthesis, a unified, efficient, systems methodology (SM): a multiphase, multi-level, multi-paradigmatic creative problem-solving process for use by individuals, by small groups, by large multi-disciplinary teams, or by teams of teams. It satisfies human needs in seeking value truths by matching the properties of wanted systems, and their parts, to perform harmoniously with their full environments, over their entire life cycles”

Arthur D. Hall (1925–2006) American electrical engineer

Source: Metasystems Methodology, (1989), p.xi-xii, cited in Philip McShane (2004) Cantower VII http://www.philipmcshane.ca/cantower7.pdf

Life , Truth , School , Law

“My wish [c. 1911].... of compiling a book (a kind of Almanac) in which all the contributions should be written by artists. I dreamt primarily of painters and musicians. The ruinous separation of the arts from each other, and of 'Art' from folk-art and from children's art, the distinction between 'Art' and 'Ethnography' [folk-art].... the solid walls erected between phenomena that in my eyes were so closely related, even identical: in a word, the potentialities for synthesis left me no peace. It may well seem strange today [1930] that for a long time I could not find any co-workers or any means to promote this idea..”

Wassily Kandinsky (1866–1944) Russian painter

as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 102
1920 - 1930

Children , Books , Peace , Idea

“The so-called conscientiousness of the great majority of painters is nothing but perfection laboriously applied to the art of being boring.”

Eugène Delacroix (1798–1863) French painter

25 January 1857 (p. 346)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Perfection

“I ordered Major [transport company] tomorrow afternoon 2 o'clock to pack the paintings, I am still completely in all the paintings - as nightmares they are flying around me, now you know as of old how that is, but tomorrow afternoon at 2 o'clock I am free. I believe there are nice things among them, the drawing has become a little too fat, but there is much good in it, and it is very well-finished. I send to Peacock. The forest with wood hackers, which was hanging above the door of my studio, then the sheep [small composition-sketch of a sheep herd with shepherd] and... I believe you know them all, 7 pieces together, afterwards I have to start working for Arnold & Tripp [art-sellers in Paris], I let those guys wait and that's not right to do..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Morgen middag 2 uur heb ik Majoor [transportbedrijf] besteld om de schilderijen in te pakken ik ben nu nog geheel in alle die schilderijen als nacht merries zijn ze om me heen nu je weet wel van ouds, hoe of dat is maar morgen om 2 uur ben ik vrij. Ik geloof dat er aardige dingen bij zijn, de teekening is wel wat dik geworden, doch veel goeds er in, en erg af ik verzend aan Peacock Het bosch met hout hakkers, dat boven de deur van mijn atelier hing dan de schapen [klein compositieschetsje schaapskudde met herder] en [klein compositieschetsje schapen op bospad] en [klein compositieschetsje met schaapskudde] en [klein compositieschetsje koe?] en [klein compositieschetsje schaapskudde met vliegdennen] en de teekening (schapen uit het bosch komende) ik geloof dat je ze allen kent, 7 stuks te zamen, ik moet daarna ook voor Arnold & Tripp [kunsthandelaars in Parijs] aan de gang, die luitjes laat ik maar wachten en dat mag niet..
In a letter of Mauve from Laren, 27 June 1887 original text of the letter in RKD Archive https://rkd.nl/explore/excerpts/10, The Hague
1880's

Guy , Waiting , Drawing , Painting

“Taking courage and looking forward from the standpoint of higher ideas born of the multiplication of the arts, they gave up huts and began to build houses with foundations, having brick or stone walls, and roofs of timber and tiles; next, observation and application led them from fluctuating and indefinite conceptions to definite rules of symmetry. Perceiving that nature had been lavish in the bestowal of timber and bountiful in stores of building material, they… embellished them with luxuries.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter I, Sec. 7

Idea , Courage , Nature , Housing

“Please let your 'hot-blooded iconoclasm' slumber a bit longer, and for a while permit me simply to be your Madonna. It's meant to be for your own good, do you believe that? Keep your mind on art, our gracious muse, dear. Let us both plan to paint all this week. And then early Saturday I shall come to you.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, after 12 September 1900; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 200
1900 - 1905

Painting

“The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again.”

William Beebe (1877–1962) American ornithologist, marine biologist, entomologist, and explorer

The Bird (1906)

Beauty

“In every nation thou beholdest unnumbered spiritual leaders who are bereft of true discernment, and among every people thou dost encounter myriads of adherents who are devoid of the same characteristic. Ponder for a while in thy heart, have pity on thyself and turn not aside thine attention from proofs and evidences. However, seek not proofs and evidences after thine idle fancy; but rather base thy proofs upon what God hath appointed. Moreover, know thou that neither being a man of learning nor being a follower is in itself a source of glory. If thou art a man of learning, thy knowledge becometh an honour, and if thou art a follower, thine adherence unto leadership becometh an honour, only when these conform to the good-pleasure of God.”

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

Dalá’Il-I-Sab‘ih

God , People , Pleasure , Knowledge

“If thou art sailing upon the sea of God’s Names, which are reflected in all things, know thou that He is exalted and sanctified from being known through His creatures, or being described by His servants. Everything thou beholdest hath been called into being through the operation of His Will. How can such a created thing, therefore, be indicative of His essential oneness? God’s existence in itself testifieth to His Own oneness, while every created thing, by its very nature, beareth evidence that it hath been fashioned by God. Such is the proof of consummate wisdom in the estimation of those who sail the ocean of divine Truth.”

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

Dalá’Il-I-Sab‘ih

Wisdom , God , Truth , Fashion

“Yesterday I had a violent run-in with M. Eugene Manet on the subject of Seurat and Paul Signac. The latter was present, as was Guillaumin. You may be sure I rated Manet roundly. - Which will not please Renoir. - But anyhow, this is the point, I explained to M. Manet, who probably didn't understand anything I said, that Seurat has something new to contribute which these gentlemen, despite their talent, are unable to appreciate, that I am personally convinced of the progressive character of his art and certain that in time it will yield extraordinary results. Besides I am not concerned with the appreciation of artists, no matter whom. I do not accept the snobbish judgments of "romantic impressionists" to whose interest it is to combat new tendencies. I accept the challenge, that's all..”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, in a letter, Paris March 1886, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 73-74
1880's

Understanding , Time , Personality

“Am I the only one who thinks that David Beckham should film a sex scene with Brad Pitt? I don't know who's in charge of casting in Hollywood, but get it done before one of them is past their prime. Can you imagine those two making love? If there is not a man in here who's junk doesn't even wiggle at the thought of it, and this has nothing to do with your homophobic beliefs. At that level, it's art, you monkey! You should feel privileged that you get to breathe the same air as those Greek gods!”

Daniel Tosh (1975) American stand-up comedian

Happy Thoughts (2011)

Love , God , Making love , Sex

“Art should never be a slave to commerce, but for all working artists that's exactly what it must be.”

Caitlín R. Kiernan (1964) writer

31 January 2005
Unfit for Mass Consumption (blog entries), 2005

“Where obscenity and art are mixed art must be so preponderating as to throw the obscenity into shadow.”

Mohammad Hidayatullah (1905–1992) 11th Chief Justice of India

His view as a connoisseur of art, inconsistent with public morals and decency.
Full Court Reference in Memory of The Late Justice M. Hidayatullah

“I think that anyone who will take the trouble to consider the matter carefully will arrive at the same conclusion as I have, that art owes its origin to Nature herself, that this beautiful creation the world supplied the first model, while the original teacher was that divine intelligence which has not only made us superior to the other animals, but like God Himself, if I may venture to say it.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Source: The Lives of the Painters, Sculptors, and Architects, 1900, p. 5

God , World , Beauty , Intelligence

“I didn’t come from a background that had any idea about what contemporary art was, it was not anti or pro, it had nothing to do with it. I do remember something my mother said when I was sixteen. I was going off to college, and I said, “I think I’m going to be an artist, not a professor of philosophy.” They all assumed I would be a professor because I’m good at logic, and she looked at me and she said, “Lawrence, you’ll break your heart.” And I said, “Why?””

Lawrence Weiner (1942) American artist

And she said, “Art is for rich people and women.”
Lawrence Weiner in: Thessaly La Force, " STUDIO VISIT Lawrence Weiner http://www.theparisreview.org/blog/2011/02/14/lawrence-weiner/," at theparisreview.org/blog, February 14, 2011.

Women , People , Idea , Thinking

“This calls for an explanation and it may be this, that no painting, however good it seems to us is anything in itself, except chemicals smeared on a flat surface. The value in the work of art is in the spectator, you see, and a painting has no bigger value than the mental and intellectual forces it arouses in the spectator.”

Asger Jorn (1914–1973) Danish artist

Jorn's quote, from his speech at the library of Silkeborg, September l0th 1953 (translated from an unpublished Danish manuscript by Guy Atkins) ; as quoted on the website of the Jorn Museum Articles by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255
1949 - 1958, Various sources

Painting

“The dance of the future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art. It is mere merchandise.”

Isadora Duncan (1877–1927) American dancer and choreographer

Source: The Art of the Dance (1928), p. 62.

Future , Dance

“In Swami Dayananda's view, the term Arya was not coterminous with the term Hindu. The classical meaning of the word Arya is 'noble'. It is used as an honorific term of address, used in addressing the honoured ones in ancient Indian parlance. The term Hindu is reluctantly accepted as a descriptive term for the contemporary Hindu society and all its varied beliefs and practices, while the term Arya is normative and designates Hinduism as it ought to be…. Elsewhere in Hindu society, 'Arya' was and is considered a synonym for 'Hindu', except that it may be broader, viz. by unambiguously including Buddhism and Jainism. Thus, the Constitution of the 'independent, indivisible and sovereign monarchical Hindu kingdom' (Art.3:1) of Nepal take care to include the Buddhist minority by ordaining the king to uphold 'Aryan culture and Hindu religion' (Art.20: 1)…. The Arya Samaj's misgivings about the term Hindu already arose in tempore non suspecto, long before it became a dirty Word under Jawaharlal Nehru and a cause of legal disadvantage under the 1950 Constitution. Swami Dayananda Saraswati rightly objected that the term had been given by foreigners (who, moreover, gave all kinds of derogatory meanings to it) and considered that dependence on an exonym is a bit sub-standard for a highly literate and self-expressive civilization. This argument retains a certain validity: the self-identification of Hindus as 'Hindu' can never be more than a second-best option. On the other hand, it is the most practical choice in the short run, and most Hindus don't seem to pine for an alternative.”

Koenraad Elst (1959) orientalist, writer

2000s, Who is a Hindu, (2001)

Religion , Dependency

“.. I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.”

Paul Klee (1879–1940) German Swiss painter

Paul Klee, in an autobiographical text for Wilhelm Hausenstein, 1919; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 - 1920

Nature , Time

“No, nothing short of the creative principle of imagination gives the fine arts their specific quality—the principle that creates for the sake of creating, for the sake of giving free course to that imagination which is not only an essential but the guiding factor in the supersensible being of man, and which not only founds for him the world of religion and of science, as well as that of art, but is the constructive and developing principle of the universe itself.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.206

World , Religion , Imagination , Universe

“It would never have been possible for Byzantine court art to become the Christian art par excellence, if the Church itself had not become an absolute authority and had not felt itself to be mistress of the world. In other words, the Byzantine style was only able to gain a footing everywhere where there was a Christian art, because the Catholic Church in the West desired to become the power the Emperor was already in Byzantium.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

World

“One cannot create an art that speaks to me when one has nothing to say.”

André Malraux (1901–1976) French novelist, art theorist and politician

L'espoir [Man's Hope] (1938)

“And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles…. the changing became so drastic that I think he knocked the head off the sculpture… So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?… But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in his interview with David Silvester, in 'The Sunday Times Magazine', 16 Febr. 1964, pp. 18, 20-22
1955 - 1970

Feeling , Question , Thinking , Change

“The latest Gospel in this world is, Know thy work and do it. 'Know thyself:' long enough has that poor 'self' of thine tormented thee; thou wilt never get to 'know' it, I believe! Think it not thy business, this of knowing thyself; thou art an unknowable individual: know what thou canst work at; and work at it, like a Hercules! That will be thy better plan.”

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

1840s, Past and Present (1843)

World , Business , Thinking

“Perhaps, sadly, in the end, cinema is only a translator's art, and you know what they say about translators: traitors all.”

Peter Greenaway (1942) British film director

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“All this will have left you disposed to understand one of our principal Futurist efforts, which consists of abolishing in literature the apparently indissoluble fusion of the two concepts of Woman and Beauty. This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out, c of which we would like to disencumber literature and art in general.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

1910's, Multiplied Man and the Reign of the Machine' 1911
Source: Poggi, Christine, and Laura Wittman, eds. Futurism: An Anthology. Yale University Press, 2009. p. 89

Beauty , Literature , Understanding , Effort

“I knew im, she knew im, e knew im, we all knew im.’ After this paradigm, which impressed his hearers, he paused. ‘E was a customer ere. Not perhaps one of the best customers. Not like Roger Alliwell ere oo drinks whisky to the tune of near one bottle a day, which is good for the ouse and, as far as we can see, does imself no arm. But e was a customer, loyal to the ouse, regular in attendance, and that’s all we ask of any man or woman for that matter. Well, now e’s gone. We’re sorry e’s gone. You’re sorry e’s gone. I’m sorry e’s gone. And we can’t say much more than that. Now the question is: is e gone to a better place? I don’t know the answer to that, nor do you, nor does she. Perhaps e knows,’ said Ted, shrugging towards the vicar, ‘because it’s is job to know. But the rest of us don’t know. Right. But I say this. E done is best for all. Never a ard word come out of that man’s art. Right. Well loved e was and for all is faults we would love im still, if e was still alive. But e’s dead now and we wish im all the best in is new destination. And I can’t say no fairer than that.”

Anthony Burgess (1917–1993) English writer

Fiction, The Right to an Answer (1960)

Love , Drink , Question , Dead

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

World , Science , Painting

“Writing ought either to be the manufacture of stories for which there is a market demand — a business as safe and commendable as making soap or breakfast foods — or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values.”

Willa Cather (1873–1947) American writer and novelist

"On the Art of Fiction" (1920)
Willa Cather on Writing (1949)

Food , Search , Business

“.. the art of becoming 'rich', in the common sense, is not absolutely nor finally the art of accumulating much money for ourselves, but also of contriving that our neighbour shall have less. In accurate terms, it is 'the art of establishing the maximum inequality in your own favour.”

John Ruskin book Unto This Last

Essay II: "The Veins of Wealth"
Unto This Last (1860)

Money , Sense

“Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.”

Robert Motherwell (1915–1991) American artist

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
1950s

“In the Renaissance there is much light, yes, and there is much in it with which Italians may share national pride. But there is much darkness. For the Renaissance is also the age of individualism, that through the splendid visions of poetry and art brought the Italian nation to the indifference, skepticism, and distracted cynicism of those who have nothing to defend, not in their family, their Fatherland, or in the world where every human personality conscious of its own value and personal dignity invest itself.”

Giovanni Gentile (1875–1944) Italian neo-Hegelian Idealist philosopher and politician

Che cosa è il fascismo: Discorsi e polemiche (“What is Fascism?”), Florence: Vallecchi, (1925) pp. 13-16

Age , World , Family , Light

“The principle of this art [as Mondrian proposes his view on modern art] is not a negation of matter, but a great love of matter, whereby it is seen in the highest, most intense manner possible, and depicted in the artistic creation.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote from Mondrian's sketchbook II, 1912/13; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 78
1910's

Love

“Almost alone among cognitive-aesthetic movements and strategies of interpretation, deconstruction neither champions any body of past literature or art, nor does it act as vanguard or advocate for any contemporary or incipient school. The New Criticism and T. S. Eliot strove for the revaluation of Metaphysical poetry so as to underwrite, in turn, certain tactics of modenity. Aristotle was advocate for Sophocles. Deconstruction is, intentionally, marginal (a key trope) to all histories of taste and manifestos for innovation.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), II: The Broken Contract, Ch. 7 (p. 117).

School , History , Literature , Past

“The one standard in art is oneness and fineness, rightness and purity, abstractness and evanescence. The one thing to say about art is, its breathlessness, lifelessness, deathlessness, contentlessness, formlessness, spacelessness, and timelessness. This is always the end of art.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 158

“The fact is that Christian art failed at a deeper level. It failed not in execution but in conception and vision, and this failure was at bottom failure of Christian theology in which mysticism is rudimentary and peripheral. Christian theology has no concept of transcendence, non-attachment, recollectedness, equality (samatâ), liberation (moksha), the vast (bhûmâ) and the infinite (ananta), compassion (kurunâ), of cosmic action emanating from restfulness at the centre; therefore, it felt no call to try to convey them in its art-forms. A deeper iconography needed the support of a deeper theology and vision. This explains why Christian art has no equivalents of Far Eastern Buddhas and Bodhisattvas as Huxley notices. The Eastern tradition was shaped by Hindu religious thinking and sensibility. Hindu art tried to portray the inner man: the Man behind the man, the Eye behind the eye, the Seeing behind the seeing, man's inner prânika or life-currents, the nodal points in his subtle body where the individual meets the cosmic. It portrayed man's inner physiognomy. …. But they portrayed the external man; there was no portrayal of the inner man, the luminous man, the transcendental man.”

Ram Swarup (1920–1998) Indian historian

On Hinduism (2000)

Life , Failure , Support , Thinking

“Alekhine is a poet who creates a work of art out of something that would hardly inspire another man to send home a picture post card.”

Max Euwe (1901–1981) Dutch chess Grandmaster, mathematician, and author

Max Euwe, in: Fred Reinfeld (1956) Why You Lose at Chess, p. 180.

Home

“To study the art of living is to engage in one of its forms.”

Alexander Nehamas (1946) Professor of philosophy

Source: The Art of Living (1998), p. 15.

Study

“The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

People , Mountain , Idea , Question

“Creation always involves building upon something else. There is no art that doesn't reuse. And there will be less art if every reuse is taxed by the appropriator. Monopoly controls have been the exception in free societies; they have been the rule in closed societies.”

Lawrence Lessig (1961) American academic, political activist.

May the Source Be With You (2001)

“The all-inclusiveness of the RV in the realm of mythology is also observable in the sphere of poetics. There is hardly a major poetic device in the various IE branches that is not present in the RV. A significant aspect, for example, is that in early Greek poetry (epics of Homer and Hesiod, and some epigraphic material) the fairly strict syllabic meter (the hexameter with its dactylic, iambic and other variants) is preponderant with only traces of alliteration; in Germanic poetry alliteration prevails while the syllabic meter is very loose: both are present in the RV. …Early Irish poetry (6th century CE) has both meter and alliteration (and rhyme) but this hardly counts since the Irish poets knew these poetic devices “from Vergil and Ovid” and, of course, the Romans developed them from the Greek tradition. Of the Vedic poetic art Watkins writes: “The language of India from its earliest documentation in the Rigveda has raised the art of the phonetic figure to what many would consider its highest form.””

Nicholas Kazanas (1939)

"Indo-European Deities and the Rigveda," JIES 29 (2001), p. 257.

“Do you know what good art is? It is saying "ta" to God.”

Stanley Spencer (1891–1959) English painter

As quoted in Times Thievish Progress (1970) by John Rothenstein; "ta" is a British form of "thank you."

God

“Fear is the reason for making art. It is a means to freedom.”

Ilya Kabakov (1933) Soviet and American conceptual artist

Quoted in: Kelly Rae Roberts (2008). Taking Flight: Inspiration And Techniques To Give Your Creative Spirit Wings. p. 35

Fear , Freedom

“They [the critics] forget that while the artist never works outside his time yet his art will go on to be merged gradually into the new art of a new age. There will be no short stop. We shall not, contrary to the expectation of these people, hear of the sudden death of Cubism, abstraction, so-called modern art.... if they could but realize that energy is a spiritual movement and that they must conceive of working under a law of universal aesthetic progress, as we do in science, in mathematics, in physics.”

Arshile Gorky (1904–1948) Armenian-American painter

Quote from: 'Stuart Davis', Arshile Gorky, in 'Creative Art 9', September 1931
1930 - 1941

Death , People , Age , Law

“The Christianity of the first centuries recognized as productions of good art, only legends, lives of saints, sermons, prayers, and hymn-singing evoking love of Christ, emotion at his life, desire to follow his example, renunciation of worldly life, humility, and the love of others; all productions transmitting feelings of personal enjoyment they considered to be bad, and therefore rejected … This was so among the Christians of the first centuries who accepted Christ teachings, if not quite in its true form, at least not yet in the perverted, paganized form in which it was accepted subsequently.
But besides this Christianity, from the time of the wholesale conversion of whole nations by order of the authorities, as in the days of Constantine, Charlemagne and Vladimir, there appeared another, a Church Christianity, which was nearer to paganism than to Christ's teaching. And this Church Christianity … did not acknowledge the fundamental and essential positions of true Christianity — the direct relationship of each individual to the Father, the consequent brotherhood and equality of all people, and the substitution of humility and love in place of every kind of violence — but, on the contrary, having founded a heavenly hierarchy similar to the pagan mythology, and having introduced the worship of Christ, of the Virgin, of angels, of apostles, of saints, and of martyrs, but not only of these divinities themselves but of their images, it made blind faith in its ordinances an essential point of its teachings.
However foreign this teaching may have been to true Christianity, however degraded, not only in comparison with true Christianity, but even with the life-conception of the Romans such as Julian and others, it was for all that, to the barbarians who accepted it, a higher doctrine than their former adoration of gods, heroes, and good and bad spirits. And therefore this teaching was a religion to them, and on the basis of that religion the art of the time was assessed. And art transmitting pious adoration of the Virgin, Jesus, the saints, and the angels, a blind faith in and submission to the Church, fear of torments and hope of blessedness in a life beyond the grave, was considered good; all art opposed to this was considered bad.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

Love , Life , God , People

“When seen as a whole, art derives from a person's desire to communicate himself to another. I do not believe in an art which is not forced into existence by a human being’s desire to open his heart. All art, literature, and music must be born in your heart’s blood. Art is your heart’s blood.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Manuscript (1891); as quoted in Edvard Munch and the Physiology of Symbolism (2002) by Shelley Wood Cordulack
1880 - 1895

Music , Communication , Literature , Heart

“I paint directly – then it's said to be an exact copy; and not art, probably because there's no perspective or shading. It doesn't look like a painting of something, it looks like the thing itself. Instead of looking like a painting of a billboard – the way a w:Reginald Marsh would look – Pop Art seems to be the actual thing. It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Way , Painting

““Let them scoff as they see fit! I will never compromise what I consider my art, especially for the sake of gain!”
“For the sake of gain I’d compromise the art of my grandmother,” muttered Zamp under his breath.”

Jack Vance book Showboat World

Source: Showboat World (1975), Chapter 14 (p. 168)

“My time's too short to waste on
Things you say without your brain.
Will you paint works of art
When you speak?
When you open your mouth
Will I weep?”

Happy Rhodes (1965) American singer-songwriter

"Words Weren't Made For Cowards"
Warpaint (1991)

Time , Painting

“You’ll know what to say when the time comes. That’s the art, eh? What to say, and when to say it. And the rest is silence.”

Ursula K. Le Guin (1929–2018) American writer

“The Bones of the Earth” (p. 139)
Earthsea Books, Tales from Earthsea (2001)

Silence , Time

“The Vienna School of Art History, influenced in part by Sigmund Freud's psychological work, began to develop a science-based psychology of art that was initially focused on the beholder. Today, the new science of mind has… again focused on the beholder.”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

School , History , Science , Parting

“The first application of this principle [of the division of labor] must have been made in a very early stage of society; for it must soon have been apparent that more comforts and conveniences could be acquired by one man restricting his occupation to the art of making bows, another to that of building houses, a third boats, and so on. This division of labor Into trades was not, however, the result of an opinion that the general riches of the community would be increased by such an arrangement: but it must have arisen from the circumstances, of each individual so employed discovering that he himself could thus make a greater profit of his labour than by pursuing more varied occupations.”

Charles Babbage On the Economy of Machinery and Manufactures

Source: On the Economy of Machinery and Manufactures, 1832/1841, p. 170. Ch 19. "On the division of labour"

Communication , Housing

“For a hundred and fifty years the Virgin and Queens ruled French taste and thought so successfully that the French man has never yet quite decided whether to be more proud or ashamed of it. Life has ever since seemed a little flat to him, and art a little cheap. He saw that the woman, in elevating herself, had made him appear ridiculous, and he tried to retaliate with a wit not always sparkling, and too often at his own expense.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Life , Appearance

“Unless the world is substantially altered for the worst, the logical outcome of technology's influence on art before the end of this century should be a series of art forms that manifest true intelligence, but perhaps more meaningfully, with a capacity for reciprocal relationships with human beings.”

Jack Burnham (1931) American art historian

Cited in: Robert Horvitz, 'a node for jack burnham' https://horvitz.multiplace.org/burnham/homepage.html.
Beyond Modern Sculpture, 1968

World , Intelligence

“The foundations of the universal value of art are given to us now by psychology. This is the common base that enables us to sink its roots to the origins before man and to discover the primary myths of humanity. The artist must confront these myths and reduce them, by means of amorphous and confused materials, to clear images. Since these are atavistic forces that have their origins in the subconscious, the work of art takes on a magical significance.”

Piero Manzoni (1933–1963) Italian artist

Source: For the Discovery of a Zone of Images', Piero Manzoni, 1957, pp. 16-17

Universe

“There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it.”

Man Ray (1890–1976) American artist and photographer

"To Be Continued, Unnoticed" (1948)

Love , Making love , Way

“In movies, the balance between art and business has always been precarious, with business outweighing art, but the business was, at least, in the hands of businessmen who loved movies. As popular entertainment, movies need something of what the vulgarian moguls had — zest, a belief in their own instincts, a sentimental dedication to producing pictures that would make their country proud of their contribution, a respect for quality, and the biggest thing: a willingness to take chances. The cool managerial sharks don’t have that; neither do the academics. But the vulgarians also did more than their share of damage, and they’re gone forever anyway. They were part of a different America. They were, more often than not, men who paid only lip service to high ideals, while gouging everyone for profits. The big change in the country is reflected in the fact that people in the movie business no longer feel it necessary to talk about principles at all.”

Pauline Kael (1919–2001) American film critic

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

Love , Men , People , Feeling

“This art is music. It stands quite apart from all the others. In it we do not recognize the copy, the repetition, of any Idea of the inner nature of the world. Yet it is such a great and exceedingly fine art, its effect on man's innermost nature is so powerful, and it is so completely and profoundly understood by him in his innermost being as an entirely universal language, whose distinctness surpasses even that of the world of perception itself, that in it we certainly have to look for more than that exercitium arithmeticae occultum nescientis se numerare animi [exercise in arithmetic in which the mind does not know it is counting] which Leibniz took it to be.”

Arthur Schopenhauer book The World as Will and Representation

Vol. I, Ch. III, The World As Representation: Second Aspect, as translated by Eric F. J. Payne (1958)
The World as Will and Representation (1819; 1844; 1859)

World , Music , Exercises , Idea

“To make us feel small in the right way is a function of art; men can only make us feel small in the wrong way.”

E.M. Forster (1879–1970) English novelist

"A Book That Influenced Me"
Two Cheers for Democracy (1951)

Men , Way , Feeling

“But though there be naturally a wide difference in point of delicacy between one person and another, nothing tends further to encrease and improve this talent, than practice in a particular art, and the frequent survey or contemplation of a particular species of beauty.”

David Hume book Four Dissertations

Four Dissertations (1757)

Beauty , Nature , Personality

“Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving — HOW NOT TO DO IT.”

Charles Dickens book Little Dorrit

Bk. I, Ch. 10
Little Dorrit (1855-1857)
Variant: Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving — HOW NOT TO DO IT.

“A good work of art reveals something that is in reality. A new metaphor, a new myth, a new type of character, all these reveal a feature of reality for which we previously had no name.”

Michael Roberts (writer) (1902–1948) English schoolteacher and man of letters

Hulme and Modrern Poetry' in ' T E Hulme ',Carcanet Press,Manchester, 1982

Reality

“Communicating wit is a lonely art. It demands an independent soul.”

Lindsey Davis book Last Act in Palmyra

Last Act in Palmyra

Soul , Communication

“Babbitt looked up irritably from the comic strips in the Evening Advocate. They composed his favorite literature and art, these illustrated chronicles in which Mr. Mutt hit Mr. Jeff with a rotten egg, and Mother corrected Father's vulgarisms by means of a rolling-pin. With the solemn face of a devotee, breathing heavily through his open mouth, he plodded nightly through every picture, and during the rite he detested interruptions. Furthermore, he felt that on the subject of Shakespeare he wasn't really an authority. Neither the Advocate-Times, the Evening Advocate, nor the Bulletin of the Zenith Chamber of Commerce had ever had an editorial on the matter, and until one of them had spoken he found it hard to form an original opinion.”

Sinclair Lewis book Babbitt

Babbitt (1922), Ch. 6

Literature , Time

“In order to this, I found it absolutely necessary to consider this Subject entirely anew, as if it had never been treated of before; the Principles of the old Perspective being so narrow, and so confined, that they could be of no use in my Design: And I was forced to invent new Terms of Art, those already in use being so peculiarly adapted to the imperfect Notions that have hitherto been had of this Art, that I could make no use of them in explaining those general Principles I intended to establish.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

“Do any thing but love; or if thou lovest
And art a Woman, hide thy love from him
Who thou dost worship; never let him know
How dear he is; flit like a bird before him, —
Lead him from tree to tree, from flower to flower;
But be not won, or thou wilt, like that bird,
When caught and caged, be left to pine neglected,
And perish in forgetfulness.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(26th April 1823) Fragment - Do any thing but love ; or if thou lovest
The London Literary Gazette, 1823

Love , Flowers , Bird , Tree

“What was any art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself — life hurrying past us and running away, too strong to stop, too sweet to lose?”

Willa Cather book The Song of the Lark

Part IV, Ch. 3
Sometimes paraphrased: What was any art but a mould in which to imprison for a moment the shining elusive element which is life itself — life hurrying past us and running away, too strong to stop, too sweet to lose.
The Song of the Lark (1915)

Life , Effort , Strong , Past

“All art that is expressive has to be illusionistic. The raw material out of which art is built is not necessarily in itself potent; you must transform it. Contours, tactility, touch, color, intervals, that's all part of the concreteness of art. You have to make the concreteness expressive. That way you don't cater to taste. You resist sentimentality. Things in a picture can't remind you too much of anything else. You have to resist all that.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 24
Conversation with Karen Wilkin' (1986-1988)

Color , Way , Parting

“Engineering is the art of directing the great sources of power in nature for the use and convenience of man.”

Thomas Tredgold (1788–1829) engineer

Thomas Tredgold (1828), used in the Royal Charter of the Institution of Civil Engineers (ICE) published in: The Times, London, article CS102127326, 30 June 1828.

Nature

“Art is the highest form of hope.”

Gerhard Richter (1932) German visual artist, born 1932

in text for catalogue of documenta 7, Kassel, 1982; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1
1980's

Hope

“In art, origin and value cannot be treated as independent. Those who enjoy poetry and painting must be at least dimly aware of a poet beyond the poem and a painter beyond the picture. If by some unimaginable process works of beauty could be produced by machinery, as a symmetrical colour pattern is produced by a kaleidoscope, we might think them beautiful till we knew their origin, after which we should be rather disposed to describe them as ingenious. And this is not, I think, because we are unable to estimate works of art as they are in themselves, not because we must needs buttress up our opinions by extraneous and irrevelant considerations; but rather because a work of art requires an artist. not merely in the order of natural causation, but as a matter of a-sthetie necessity. It conveys a message which is valueless to the recipient, unless it be understood by the sender. It must be expressive.”

Arthur James Balfour (1848–1930) British Conservative politician and statesman

Theism and humanism

Beauty , Nature , Thinking , Painting

“We believe that to the great body of the reading public the name of George Boole first became known, if indeed it has yet become known, through the announcement of his death; the announcement being accompanied in a few of the papers by a brief sketch of his life and works. Boole's researches were not of a nature to be appreciated by the multitude, and he never condescended to those arts by which less gifted men have won for themselves while living a more splendid reputation.”

Richard Holt Hutton (1826–1897) English journalist

R.H. Hutton, "Professor Boole," in: The British Quarterly Review http://books.google.com/books?id=pfMEAAAAQAAJ&pg=PA165. (1866), p. 141

Life , Death , Men , Nature

“Whenever I am sent a new book on the lively arts, the first thing I do is look for myself in the index.”

Julie Burchill (1959) British writer

Burchill (1992) in The Spectator. 16 January 1992; cited in: Ned Sherrin (2008) Oxford Dictionary of Humorous Quotations. p. 170

Books

“Video art is art that will stretch the boundaries of the art world.”

Gregory Battcock (1937–1980)

Gregory Battcock early 1970s, as quoted in: "Art history course 2013-14," at uchicago.edu, Department of Art History, 18 Feb. 2014.

World

“We all know in our gut that art educates. In other societies, they're aware of the power it has of speaking directly to the masses, teaching them to be better socialists, better citizens. The trouble is that with us it's fallen into the wrong hands. Forget the speculators… The concept of the collector is so rotten by now that it stinks.”

Mary McCarthy book Cannibals and Missionaries

Cannibals and Missionaries (1979)

Education , Forgetting

“I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comics are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we're not really advocating stupidity, international teenagerism and terrorism.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Stupidity , Tree

“An artist who sees that the imitation of natural appearances, however artistic, is not for him – the kind of creative artist who wants to, and has to express his own inner world – sees with envy how naturally and easily such goals can be attained in music, the least material of the arts today. Understandably, he may turn toward it and try to find the same means in his own art. Hence the current search for rhythm in painting, for mathematical abstract construction.... the way colors are set in motion, etc.”

Wassily Kandinsky (1866–1944) Russian painter

1910 - 1915
Source: On the Spiritual in Art, 1911; as quoted in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 15

World , Music , Color , Way

“The word (classical) carries the implication that the works of art and literature produced in Graeco-Roman antiquity possess an absolute value, that they form the standard by which all others are to be judged.”

Jasper Griffin (1937–2019) Public Orator and Professor of Classical Literature

The Oxford History of the Classical World (with John Boardman and Oswyn Murray, Oxford: Oxford University Press, 1986) p. 3

Literature

“I am a sensitive artist. Nobody understands me because I am so deep. In my work, I make allusions to books that nobody else has read, music that nobody else has heard, and art that nobody else has seen. I can't help it, because I am so much more intelligent and well-rounded than everyone who surrounds me.”

John S. Hall (1960) Poet, author, singer, lawyer

"Sensitive Artist"
Lyrics, Fluting on the Hump (1987)

Books , Music , Intelligence , Understanding

“Auto-destructive art is conceived as a desperate last-minute subversive political weapon used by artists. It is an attack on the Capitalist system and the production of war materials. It is committed to nuclear disarmament and people's struggle.”

Gustav Metzger (1926–2017) Artist and political activist

Source: Ark, Nr. 30-37, 1962.

War , People

“What if criticism is a science as well as an art? Not a "pure" or "exact" science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

Science

“There is a reciprocal action between the work of art and the viewer. The river changes the work of art and criticism can also change the artist... There are so many ideas afloat; any of them could have triggered the work of art. It is impossible to determine exactly if the idea has been transmitted by the critic, or if the work itself has determined its outcome..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

Idea , Change

“[Our purpose is] to ensure that literature and art fit well into the whole revolutionary machine as a component part, that they operate as powerful weapons for uniting and educating the people and for attacking and destroying the enemy, and that they help the people fight the enemy with one heart and one mind.”

Mao Zedong (1893–1976) Chairman of the Central Committee of the Communist Party of China

Chapter 32 https://www.marxists.org/reference/archive/mao/works/red-book/ch32.htm, originally published in Talks at the Yenan Forum on Literature and Art (May 1942), Selected Works, Vol. III, p. 84.
Quotations from Chairman Mao Zedong (The Little Red Book)

People , Education , Literature , Help

“The Socratic demonstration of the ultimate unity of tragic and comic drama is forever lost. But the proof is in the art of Chekhov.”

George Steiner (1929–2020) American writer

Source: The Death of Tragedy (1961), Ch. VIII (p. 302).

“The Persian art is great, I feel compelled to tell you this my Mouguch [pet name for his wife], because it pleases me so much. I adore those sick and lovely Persian – civilization which reveals there ancient custom's to me, which is deeply impregnated with my own.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 356: in a letter to his wife Mougouch Gorky, late Summer 1947

Love , Feeling

“An art mode, new or old, is for the creative mind essentially a point of beginning. Content is brought into being by the activity through which the artist translates the movement into himself. In such an appropriation, there is no difference between an ongoing movement and one that is finished. During the reign of Minimalism, a painter might realize the new through Impressionism. That art history has a schedule of continuous advances en masse is a fantasy of the historian. The shared syntax of art movements is constantly replaced by the sensibility and practice of individuals. The avant-garde art of yesterday is the only modern equivalent of an aesthetic tradition. The fading of the ideas of a movement does not mean that it can no longer be a stimulus to creation. At the very dawn of a movement, the work of its artists commences to replace the concept; instead of Cubism there appear Picasso, Braque, Gris. Compared to the activities to which they give rise, ideas in art have a brief life. In the last analysis, the vitality of art in our time depends on works produced by movements after they have died.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 230, Art on the Edge (1975) "Shall These Bones Live?: Art Movement Ghosts"

Life , History , Idea , Appearance

“Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i. e., no disturbing distraction during creation occurs here.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: the article 'i ein Manifest' (or 'i-manifest'), Kurt Schwitters, in Merz 2. 1923; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 116

Idea , Nature , Loss , Parting