Quotes about art
page 20

“Art is the signature of civilizations.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

Beverly Sills, interviewed on NBC TV, May 4, 1985.
Misattributed

“It’s important, therefore, to know who the real enemy is, and to know the function, the very serious function of racism, which is distraction. It keeps you from doing your work. It keeps you explaining over and over again, your reason for being. Somebody says you have no language and so you spend 20 years proving that you do. Somebody says your head isn’t shaped properly so you have scientists working on the fact that it is. Somebody says that you have no art so you dredge that up. Somebody says that you have no kingdoms and so you dredge that up. None of that is necessary. There will always be one more thing.”

Toni Morrison (1931–2019) American writer

A Humanist View (1975)

“And now impatiently despairest, see
How nought is changed: Joy's wisdom is attired
Splended for others' eyes if not for thee:
Not love or beauty or youth from earth is fled:
If they delite thee not, 'tis thou art dead.”

Robert Seymour Bridges (1844–1930) British writer

Melancholia http://www.sonnets.org/bridges.htm, st. 2. Poetry

Love, Wisdom, Youth, Beauty

“Thalberg wanted commercial hits. I wanted art.”

Lillian Gish (1893–1993) American actress

http://marilynmonroeflims.blogspot.com/2012/07/lillian-gish-greta-garbo-class-acts.html (On her work with MGM)

“The will to the “true world” in the sense of Plato and Christianity … is in truth a no-saying to our present world, precisely the one in which art is at home.”

Martin Heidegger (1889–1976) German philosopher

...der Wille zur »wahren Welt« im Sinne Platons und des Christentums … ist in Wahrheit ein Neinsagen zu unserer hiesigen Welt, in der gerade die Kunst heimisch ist.
Source: Nietzsche (1961), p. 74

Truth, World, Home, Sense

“There as elsewhere a cruel universe combined to crush a child. As though three or four vigorous brothers and sisters, with the best will, were not enough to crush any child, every one else conspired towards an education which he hated. From cradle to grave this problem of running order through chaos, direction through space, discipline through freedom, unity through multiplicity, has always been, and must always be, the task of education, as it is the moral of religion, philosophy, science, art, politics, and economy; but a boy's will is his life, and he dies when it is broken, as the colt dies in harness, taking a new nature in becoming tame. Rarely has the boy felt kindly towards his tamers. Between him and his master has always been war. Henry Adams never knew a boy of his generation to like a master, and the task of remaining on friendly terms with one's own family, in such a relation, was never easy.”

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

The Education of Henry Adams (1907)

Life, Hate, War, Education

“After a few months in my parents' basement, I took an apartment near the state university, where I discovered both crystal methamphetamine and conceptual art. Either one of the these things are dangerous, but in combination they have the potential to destroy entire civilizations.”

David Sedaris book Me Talk Pretty One Day

Me Talk Pretty One Day (2000)

Parent, Universe

“The subjective element in geological studies accounts for two characteristic types that can be distinguished among geologists. One considering geology as a creative art, the other regarding geology as an exact science.”

Reinout Willem van Bemmelen (1904–1983) Dutch geologist

Source: "The Scientific Character of Geology," 1961, p. 453; quoted in: Robert Woodtli (1964), Methods of Prospection for Chromite, p. 80

Study, Science

“To me, it has always been a matter of wonder that Christ said nothing as to the obligation man is under to his country, nothing as to the rights of the people as against the wish and will of kings, nothing against the frightful system of human slavery—almost universal in his time. What he did not say is altogether more wonderful than what he did say. It is marvelous that he said nothing upon the subject of intemperance, nothing about education, nothing about philosophy, nothing about nature, nothing about art. He said nothing in favor of the home, except to offer a reward to those who would desert their wives and families.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

"To the Indianapolis Clergy." The Iconoclast (Indianapolis, IN) (1883)

People, Education, Family, Home

“[F]ascinating… significant movement… [P]art of the American tradition… There's something positive… when we can simultaneously swear in a new president and at the same time have a democratic process of people expressing their views. It's their right and we shouldn’t be surprised by it, or annoyed by it.”

Dick Cheney (1941) American politician and businessman

At the Ringling College Library Association Town Hall Lecture Series in Sarasota https://www.sarasotamagazine.com/articles/2017/1/23/dick-cheney-sarasota (January 2017) 2010s, 2017

People, Time

“What had already been done for music by the end of the eighteenth century has at last been begun for the pictorial arts. Mathematics and physics furnished the means in the form of rules to be followed and to be broken. In the beginning it is wholesome to be concerned with the functions and to disregard the finished form. Studies in algebra, in geometry, in mechanics characterize teaching directed towards the essential and the functional, in contrast to apparent. One learns to look behind the façade, to grasp the root of things. One learns to recognize the undercurrents, the antecedents of the visible. One learns to dig down, to uncover, to find the cause, to analyze.”

Paul Klee (1879–1940) German Swiss painter

1921 - 1930
Source: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Music, Mathematics, Study, Learning

“The sciences certainly have influenced the arts. To an Aztec, the sunset was an inexplicable event, which he could not cope with or even survive without the imagined aid of his gods. Obvious phenomena of this sort have since been explained. But the sheer unimagined vastness of the explicable has now made the inexplicable into such a monstrous thing that our heads spin, and the old images burst like bubbles. The thought of the totally inexplicable (as when we look at the starry sky), and the impossibility of reading any sense into this monstrous vastness, so affect us that we need ignorance to survive.”

Gerhard Richter (1932) German visual artist, born 1932

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

God, Imagination, Sense, Science

“The writer is of service to humankind only insofar as the writer uses the word even against his or her own loyalties, trusts the state of being, as it is revealed, to hold somewhere in its complexity filaments of the cord of truth, able to be bound together, here and there, in art: trusts the state of being to yield somewhere fragmentary phrases of truth, which is the final word of words, never changed by our stumbling efforts to spell it out and write it down, never changed by lies, by semantic sophistry, by the dirtying of the word for the purposes of racism, sexism, prejudice, domination, the glorification of destruction, the curses and the praise-songs.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

Writing and Being (1991)

Truth, Effort, Change, Loyalty

“What strange arts necessity finds out.”

Christopher Marlowe (1564–1593) English dramatist, poet and translator

Venus, Act I, scene i, line 169
Dido (c. 1586)

“They say that truth is naked. I cannot admit this for any but abstract truths; in the arts, all truths are produced by methods which show the hand of the artist.”

Eugène Delacroix (1798–1863) French painter

12 October 1859 (p. 388)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Truth

“I believe that it is possible by means of horizontal and vertical lines, constructed 'consciously' but not 'calculating', guided by a higher intuition and brought to harmony and rhythm – I believe that these fundamental aesthetic shapes – where necessary supplemented by lines in other directions or curved lines, make it possible to arrive at a work of art which is as strong as it is true. For anyone who sees more deeply, there is nothing vague about this; it is only vague for the superficial observer of nature. And 'chance' must be as far removed as 'calculation'. And for the rest it seems to me that it is necessary to keep breaking off the horizontal or vertical line: for if these directions were not countered by others, they would themselves come to signify something 'specific' and thus human.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Nature, Strong, Chance

“… this refined language of Indian modernity – an Indian language that was actually first used as a first language by a home-grown cosmopolitan elite – enough to say, with or without humour, ‘Ami tomake bhalobashi’ (‘I love you’) or ‘Apni kothai thhaken?’ (‘Where do you live?). These stray statements performed an incantatory ‘open sesame’ – into the bounded, charmed, small-scale world of ‘Bengaliness’. The ‘honorary’ Bengali might be myopic; might be an aficionado of art-house cinema; might be politically left wing; might have taste for lyric poetry; a tendency towards the autobiographical; an appetite for fish; or display none of these traits.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

citation needed
On Modernity

Love, World, Home, Fish

“Various Arts by study might be wrought
Up to their height.”

John Ogilby (1600–1676) Scottish academic

The Works of Publius Virgilius Maro (2nd ed. 1654), Virgil's Georgicks

Study

“Come to the bridal chamber, Death!
Come to the mother’s, when she feels
For the first time her first-born’s breath!
Come when the blessed seals
That close the pestilence are broke,
And crowded cities wail its stroke!
Come in consumption’s ghastly form,
The earthquake shock, the ocean storm!
Come when the heart beats high and warm,
With banquet song, and dance, and wine!
And thou art terrible!—the tear,
The groan, the knell, the pall, the bier,
And all we know or dream or fear
Of agony are thine.

But to the hero, when his sword
Has won the battle for the free,
Thy voice sounds like a prophet’s word;
And in its hollow tones are heard
The thanks of millions yet to be.”

Fitz-Greene Halleck (1790–1867) American writer

Marco Bozzaris.

Death, Fear, Dreams, Feeling

“The walls between art and engineering exist only in our minds, and few go beyond them.”

Theo Jansen (1948) artist

In advert for BMW, as cited in: Herman van den Broeck, David Vente. Beyonders: transcending average leadership. (2011). p. 52.

“I think faith in each other is much harder than faith in God or faith in crystals. I very rarely have faith in God; I occasionally have little spasms of it, but they go away, if I think hard enough about it. I am incandescent with rage at the idea of horoscopes and of crystals and of the nonsense of 'New Age', or indeed even more pseudo-scientific things: self-help, and the whole culture of 'searching for answers', when for me, as someone brought up in the unashamed Western tradition of music and poetry and philosophy, all the answers are there in the work that has been done by humanity before us, in literature, in art, in science, in all the marvels that have created this moment now, instead of people looking away. The image to me... is gold does exist, and for 'gold' say 'truth', say 'the answer', say 'love', say 'justice', say anything: it does exist. But the only way in this world you can achieve gold is to be incredibly intelligent about geology, to learn what mankind has learnt, to learn where it might lie, and then break your fingers and blister your skin in digging for it, and then sweat and sweat in a forge, and smelt it. And you will have gold, but you will never have it by closing your eyes and wishing for it. No angel will lean out of the bar of heaven and drop down sheets of gold for you. And we live in a society in which people believe they will. But the real answer, that there is gold, and that all you have to do is try and understand the world enough to get down into the muck of it, and you will have it, you will have truth, you will have justice, you will have understanding, but not by wishing for it.”

Stephen Fry (1957) English comedian, actor, writer, presenter, and activist

From Radio 4's Bookclub http://www.bbc.co.uk/programmes/p00f8l3b 2000s

Love, God, People, Truth

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Love, Life, Pleasure, Fear

“I have undertaken to say a few words to you on the "Art of Questioning". It is a subject of great importance to all of you who desire to become good teachers; for, in truth, the success and efficiency of our teaching depend more on the skill and judgment with which we put questions than on any other single circumstance.”

Joshua Girling Fitch (1824–1903) British educationalist

Joshua G. Fitch. The art of questioning https://archive.org/stream/artofquestioning00fitcrich#page/n7/mode/2up. 9th edition. Published 1879. pp. 78

Truth, Question, Teachers, Success

“The new vision of man and politics was never taken by its founders to be splendid. Naked man, gripped by fear or industriously laboring to provide the wherewithal for survival, is not an apt subject for poetry. They self-consciously chose low but solid ground. Civil societies dedicated to the end of self-preservation cannot be expected to provide fertile soil for the heroic and inspired. They do not require or encourage the noble. What rules and sets the standards of respectability and emulation is not virtue or wisdom. The recognition of the humdrum and prosaic character of life was intended to play a central role in the success of real politics. And the understanding of human nature which makes this whole project feasible, if believed in, clearly forms a world in which the higher motives have no place. One who holds the “economic” view of man cannot consistently believe in the dignity of man or in the special status of art and science. The success of the enterprise depends precisely on this simplification of man. And if there is a solution to the human problems, there is no tragedy. There was no expectation that, after the bodily needs are taken care of, man would have a spiritual renaissance—and this for two reasons: (1) men will always be mortal, which means that there can be no end to the desire for immortality and to the quest for means to achieve it; and (2) the premise of the whole undertaking is that man’s natural primary concern is preservation and prosperity; the regimes founded on nature take man as he is naturally and will make him ever more natural. If his motives were to change, the machinery that makes modern government work would collapse.”

Allan Bloom (1930–1992) American philosopher, classicist, and academician

“Commerce and Culture,” p. 284.
Giants and Dwarfs (1990)

Life, Wisdom, Men, World

“If nothing were left of an extinct race but a single button, I would be able to infer, form the shape of that button, how these people dressed, built their houses, how they lived, what was their religion, their art, their mentality.”

Adolf Loos (1870–1933) Austrian/Czech architect

Quoted in Berel Lang, Critical Inquiry, Vol. 4, No. 4 (Summer, 1978), pp. 715-739; see http://www.jstor.org/pss/1342952.

People, Religion, Housing

“Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.”

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

From Dada Manifesto 1918 (23 March 1918) by Tristan Tzara
Misattributed

Understanding, Strong

“The heavy bridge confines your stream,
Through which the barges toil,
Smoke has shut out the sun's glad beam,
Thy waves have caught the soil.
On—on—though weariness it be,
By shoal and barrier cross'd,
Till thou hast reach'd the mighty sea,
And there art wholly lost.”

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

The Altered River from The Keepsake, 1829
The Vow of the Peacock (1835)

Sun, Sea

“Extremist art is non-metaphysical, based on the senses.”

Nick Zedd (1958) American film maker

The Extremist Manifesto, 2013

Sense

“Speech is human, silence is divine, yet also brutish and dead: therefore we must learn both arts.”

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

Notebooks (1830).
1830s

Silence, Learning, Dead

“I try to go further on over the threshold where modern art ends and anthropological art has to start.”

Joseph Beuys (1921–1986) German visual artist

Quote by Furlang, 1974, p. 7; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 206
1970's

“Criticism will need an injection of humility — that is, a recognition of its role as ancillary to the arts, needed only occasionally in a temporary capacity. Since the critic exists only for introducing and explaining, he must be readily intelligible; he has no special vocabulary: criticism is in no way a science or a system.”

Jacques Barzun (1907–2012) Historian

"Culture High and Dry" (1984), p. 20
The Culture We Deserve (1989)

Way, Intelligence, Science

“I started those [the 'Elisabeth Taylor' pictures, Warhol made from a publicity photo of her 1960 film 'BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and... If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography?... Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art... The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Love, People, Making love, Color

“Changing what you want to get done takes a second. Recalibrating & getting the new thing to happen is a martial art.”

David Allen (1945) American productivity consultant and author

7 December 2011 https://twitter.com/gtdguy/status/144476364966346752 Official Twitter profile (@gtdguy) https://twitter.com/gtdguy

Change

“To tell you the truth, I am rather perplexed about the concept of "art]. What one person considers to be "art" is often not "art" to another. "Beautiful" and "ugly" are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only "kitsch" is not art — we're all agreed about that. Indeed, but what is "kitsch?"”

M. C. Escher (1898–1972) Dutch graphic artist

If only I knew!
1950's, On Being a Graphic Artist', 1953

Truth, Beauty, Fashion, Hurt

“I know not, I ask not, if guilt 's in that heart,
I but know that I love thee whatever thou art.”

Thomas Moore Come

Come, rest in this Bosom.
Bartlett's Familiar Quotations, 10th ed. (1919)

Love, Heart

“Judaism’s campaign to make divinity invisible has never fully succeeded. Images are always eluding moral control, creating the brilliant western art tradition. Idolatry is fascism of the eye. The western eye will be served, with or without the consent of conscience.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 139

“But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

Feeling, Painting

“A game of rugby is a work of art!”

Danie Craven (1910–1993) South African rugby union player and administrator

Sunday Times interview (1980s)

Game

“To the spirit of the New China this book is dedicated in the sure belief that her future greatness lies in the knowledge and emulation of her ancient and immortal arts.”

Cyril Drummond Le Gros Clark (1894–1945) Secretary of Sarawak

Selections from the Works of Su-Tung-P'o (1931), as quoted in The Illustrated London News, Vol. 180 (1932), ed. 1, p. 254

Books, Knowledge, Future

“The work of art … is an instrument for tilling the human psyche, that it may continue to yield a harvest of vital beauty.”

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

Source: Collected Poems (1966), p. 20

Beauty

“[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then]... In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art.”

Piet Mondrian (1872–1944) Peintre Néerlandais

But all that is not yet clear in my mind.
Quote in Mondrian's letter to artist Gorin, [who stated that the double line broke the necessary symmetry], 31 January, 1934; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 215
1930's

Lie, Question, Painting

“The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art.”

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

Source: Art on the Edge, (1975), p. 283, "The Old Age of Modernism"

World, Parting

“Indifference to the fine arts comes close to barbarism.”

Karl Friedrich Schinkel (1781–1841) Prussian architect, city planner, and painter

As quoted in Nineteenth and Twentieth Century Architecture, Vol. 11 (1976) by Garland Publishing, p. 94; also in The Dictionary of Art, Vol. 28 (1996) by Jane Turner

Indifference

“Classic art was like a king who has the right to govern, punish, reward, and choose his favorites from an aristocracy, obliging them to adopt conventional rules as to manners, morals, and modes of speech. The new art tries to imitate nature in its unconsciousness, its moral indifference.”

Eugène-Melchior de Vogüé (1848–1910) French diplomat, orientalist, travel writer, archaeologist, philanthropist and literary critic

Russian Novelists (1887), page 10 (translated by Jane Loring Edmands)

Nature, Indifference

“We had forgotten the art of using silence to convey emotions in our films and that's what you seem to have mastered. You've used silence to great advantage in the film. It's brilliant.”

Amitabh Bachchan (1942) Indian actor

To Farhan Akhtar, after a private screening of the film, Lakshya, reported in Cine Blitz‎ (2004).

Silence

“What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives… The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.”

Eugène Fromentin (1820–1876) French painter

Quote of Fromentin, as cited by Sarah Anderson in Between Sea and Sahara: An Orientalist Adventure, 'Chapter IV', Eugène Fromentin, (1859); transl. Blake Robinson; publisher I.B. Tauris 2004, p. 4

Nature, Appearance, Loss, Time

“We are so accustomed to hear arithmetic spoken of as one of the three fundamental ingredients in all schemes of instruction, that it seems like inquiring too curiously to ask why this should be. Reading, Writing, and Arithmetic—these three are assumed to be of co-ordinate rank. Are they indeed co-ordinate, and if so on what grounds?
In this modern “trivium” the art of reading is put first. Well, there is no doubt as to its right to the foremost place. For reading is the instrument of all our acquisition. It is indispensable. There is not an hour in our lives in which it does not make a great difference to us whether we can read or not. And the art of Writing, too; that is the instrument of all communication, and it becomes, in one form or other, useful to us every day. But Counting—doing sums,—how often in life does this accomplishment come into exercise? Beyond the simplest additions, and the power to check the items of a bill, the arithmetical knowledge required of any well-informed person in private life is very limited. For all practical purposes, whatever I may have learned at school of fractions, or proportion, or decimals, is, unless I happen to be in business, far less available to me in life than a knowledge, say, of history of my own country, or the elementary truths of physics. The truth is, that regarded as practical arts, reading, writing, and arithmetic have no right to be classed together as co-ordinate elements of education; for the last of these is considerably less useful to the average man or woman not only than the other two, but than 267 many others that might be named. But reading, writing, and such mathematical or logical exercise as may be gained in connection with the manifestation of numbers, have a right to constitute the primary elements of instruction. And I believe that arithmetic, if it deserves the high place that it conventionally holds in our educational system, deserves it mainly on the ground that it is to be treated as a logical exercise. It is the only branch of mathematics which has found its way into primary and early education; other departments of pure science being reserved for what is called higher or university instruction. But all the arguments in favor of teaching algebra and trigonometry to advanced students, apply equally to the teaching of the principles or theory of arithmetic to schoolboys. It is calculated to do for them exactly the same kind of service, to educate one side of their minds, to bring into play one set of faculties which cannot be so severely or properly exercised in any other department of learning. In short, relatively to the needs of a beginner, Arithmetic, as a science, is just as valuable—it is certainly quite as intelligible—as the higher mathematics to a university student.”

Joshua Girling Fitch (1824–1903) British educationalist

Source: Lectures on Teaching, (1906), pp. 267-268.

Life, Truth, Education, School

“If my works are good and of any importance for the further development of our art, they will maintain their position in spite of all opposition on the part of critics, and in spite of all denigration of my artistic intentions. If they are worthtless, not even the most gratifying box office success or the most enthusiastic acclamation of augurs will keep them alive. Let the pulping press devour them…I shall not shed a tear over their grave.”

Richard Strauss (1864–1949) German composer and orchestra director

On Criticism (page 21-2) (1908).
Recollections and Reflections

Tear, Success, Parting, Box

“I have lately been reading Modern Painters, and I have derived from the work much genuine pleasure and, I hope, some edification; at any rate it made me feel how ignorant I had previously been on the subject which it treats. Hitherto I have only had instinct to guide me in judging of art; I feel now as if I had been walking blindfold — this book seems to give me eyes. I do wish I had pictures within reach by which to test the new sense. Who can read these glowing descriptions of (J. M. W.) Turner’s works without longing to see them? However eloquent and convincing the language in which another’s opinion is placed before you, you still wish to judge for yourself. I like this author’s style much; there is both energy and beauty in it: I like himself too, because he is such a hearty admirer. He does not give Turner half-measure of praise or veneration; he eulogizes, he reverences him (or rather his genius) with his whole soul. One can sympathize with that sort of devout, serious admiration (for he is no rhapsodist) one can respect it; and yet possibly many people would laugh at it. I am truly obliged to Mr. Smith for giving me this book, not having often met with one that has pleased me more.”

Charlotte Brontë (1816–1855) English novelist and poet

Charlotte Brontë, on Modern Painters, Vol. 1 (1843), by John Ruskin. Letter to W. S. Williams (31 July 1848) The Letters of Charlotte Brontë

People, Pleasure, Books, Beauty

“Why then are the arts and sciences important? I suppose with the sciences we could say that the answer is obvious: we have radium, penicillin, television and recorded sound, motor-cars and aircraft, air-conditioning and central heating. But these achievements have never been the primary intention of science; they are a sort of by-product, the things that emerge only when the scientist has performed his main task. That task is simply stated: to be curious, to keep on asking the question 'Why?' and not to be satisfied till an answer has been found. The scientist is curious about the universe: he wants to know why water boils at one temperature and freezes at another; why cheese is different from chalk; why one person behaves differently from another. Not only 'Why?' but ‘What?' What is salt made of? What are the stars? What is the constitution of all matter? The answers to these questions do not necessarily malke our lives any easier. The answer to one question—'Can the atom be split?' - has made our lives somewhat harder. But the questions have to be asked. It is man's job to be curious; it is man's job to try to find out the truth about the world about us, to answer the big question 'What is the world really like?”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Truth, World, Cars, Star

“Secondly, the student is trained to accept historical mis-statements on the authority of the book. If education is a pre- paration for adult life, he learns first to accept without question, and later to make his own contribution to the creation of historical fallacies, and still later to perpetuate what he has learnt. In this way, ignorant authors are leading innocent students to hysterical conclusions. The process of the writers' mind provides excellent material for a manual on logical fallacies. Thirdly, the student is told nothing about the relationship between evidence and truth. The truth is what the book ordains and the teacher repeats. No source is cited. No proof is offered. No argument is presented. The authors play a dangerous game of winks and nods and faints and gestures with evidence. The art is taught well through precept and example. The student grows into a young man eager to deal in assumptions but inapt in handling inquiries. Those who become historians produce narratives patterned on the textbooks on which they were brought up. Fourthly, the student is compelled to face a galling situation in his later years when he comes to realize that what he had learnt at school and college was not the truth. Imagine a graduate of one of our best colleges at the start of his studies in history in a university in Europe. Every lecture he attends and every book he reads drive him mad with exasperation, anger and frustration. He makes several grim discoveries. Most of the "facts", interpretations and theories on which he had been fostered in Pakistan now turn out to have been a fata morgana, an extravaganza of fantasies and reveries, myths and visions, whims and utopias, chimeras and fantasies.”

Khursheed Kamal Aziz (1927–2009) historian

The Murder of History, critique of history textbooks used in Pakistan, 1993

Life, Truth, Books, Education

“Could she not obtain from him the promise to discharge his weapon in the air, if the duel was with pistols, or, if it was with swords, simply to disarm his enemy?
Like nearly all persons unversed in the art, she believed in infallible fencers, in marksmen who never missed their aim, and she had also ideas profoundly, absolutely inexact on the relations of one man with another in the matter of an insult.”

Paul Bourget (1852–1935) French writer

Source: Cosmopolis (1892), Ch. 7 "A Little Relative of Iago"

Idea, Personality

“Seek, therefore, thyself! But in finding oneself, does not one find one's own nothingness?… Carlyle answers (Past and Present, book iii, chap. xi.). "The latest Gospel in the 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 thy business, this of knowing thyself; thou art an unknowable individual: know what thou canst work at; and work at it, like Hercules. That will be thine better plan." …and what is my work? — without thinking about myself, is to love God…. And on the other hand, in loving God in myself, am I not loving myself more than God, am I not loving myself in God?”

Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher

The Tragic Sense of Life (1913), X : Religion, the Mythology of the Beyond and the Apocatastasis

Love, God, Books, World

“The art of the creative leader is the art of institution building, the reworking of human and technological materials to fashion an organism that embodies new and enduring values.”

Philip Selznick (1919–2010) American sociologist

Source: Leadership in Administration: A Sociological Interpretation, 1957, p. 152-3

Fashion

“The Jew can take the credit for having corrupted the Graeco-Roman world. Previously words were used to express thoughts; he used words to invent the art of disguising thoughts. Lies are his strength, his weapon in the struggle. The Jew is said to be gifted. His only gift is that of juggling with other people's property and swindling each and everyone. Suppose I find by chance a picture that I believe to be a Titian. I tell the owner what I think of it, and I offer him a price. In a similar case, the Jew begins by declaring that the picture is valueless, he buys it for a song and sells it at a profit of 5000 per cent. To persuade people that a thing which has value, has none, and vice versa—that's not a sign of intelligence. They can't even overcome the smallest economic crisis!”

Adolf Hitler (1889–1945) Führer and Reich Chancellor of Germany, Leader of the Nazi Party

5 November 1941.
Disputed, Hitler's Table Talks (1941-1944) (published 1953)

People, World, Intelligence, Thinking

“It was not the inexperienced art public that became American Scenists. It was the artists themselves, a highly sophisticated group, thoroughly familiar with the art work and the art traditions of the world, who had flocked to Paris to participate in the great cultural center, who were very conscious of the Impressionists and Post-Impressionists revolutions, who fell for this propaganda [to strive for a pure national American art]. It is upon them that responsibility falls. Their support of this reactionary philistinism is an inexcusable betrayal... It is time for the artists to wake up and re-examine their aesthetic foundations; to rid themselves of the millstone that has made art in America an expensive picture postcard-factory... It is time that artists refused isolationist money, repudiated the art dealers, the favor of the museum directors. It is time artists forgot about success..”

Barnett Newman (1905–1970) American artist

Quote of 1942; in Barnett Newman', by Thomas B. Hess, museum of Modern art, New York 1971; as cited in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 124-125
1940 - 1950

Money, World, Support, Betrayal

“In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things.”

Luciano Pavarotti (1935–2007) Italian operatic tenor

Pavarotti : My World (1995)

“The cinema is a place of intrinsic indiscernibility between art and non-art.”

Alain Badiou (1937) French writer and philosopher

From Considérations sur l'état actuel du cinéma (1999), translated as Philosophy and Cinema in Infinite Thought: truth and the return of philosophy. London: Continuum, 2003. ISBN 0826467245.

“It is a terrible, but also tremendous time. Personally I find it moreover so important for my art to live now... These times force you to think over a lot and work very hard, in Nature now a strong creative force is working.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:)Es ist eine schreckliche, doch auch eine gewaltige Zeit, ich persönlich empfinde es auch für meine Kunst so wichtig, jetzt zu leben.. .In dieser Zeit muss man viel denken und viel arbeiten, in der Natur ist jetzt eine so grosse Schaffenskraft.
In a letter of Jacoba, late 1914; as cited by A. Behne, in 'der Krieg und die künstlerische Produktion', in 'Die Umschau', Jan / März 1915
Jacoba is partly referring to World War 1. The Netherlands kept itself out of this war, but many Belgium refugees entered the country
1910's

Nature, Thinking, Strong, Time

“Certainly the Art of Writing is the most miraculous of all things man has devised.”

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

1840s, Heroes and Hero-Worship (1840), The Hero as Man of Letters

“The criteria of art are the imponderable, the immeasurable.”

Elfriede Jelinek book The Piano Teacher

P 118
The Piano Teacher (1988)

“Wisdom is not to be found in the art of oratory, or in great books, but in a withdrawal from these sensible things and in a turning to the most simple and infinite forms. You will learn how to receive it into a temple purged from all vice, and by fervent love to cling to it until you may taste it and see how sweet That is which is all sweetness. Once this has been tasted, all things which you now consider as important will appear as vile, and you will be so humbled that no arrogance or other vice will remain in you. Once having tasted this wisdom, you will inseparably adhere to it with a chaste and pure heart. You will choose rather to forsake this world and all else that is not of this wisdom, and living with unspeakable happiness you will die.”

Nicholas of Cusa book De Docta Ignorantia

De Docta Ignorantia (On Learned Ignorance) (1440)

Love, Wisdom, Happiness, Books

“That's wild! I'll start off with five stars and work backwards from there. Now there, to me, is the most perfect band in existence, whether you're thinking of it orchestrationally or in terms of Duke's immensely creative writing. I can't think of anybody I admire more than this man; nobody could even be compared with him, except Billy Strayhorn. Duke does something with this old, tired instrumentation of trumpets, trombones and saxophones, and he has a perfect way of utilizing the men's specific sounds. Anything he plays is a work of art. The band is out of tune, for instance, and it doesn't even matter. They almost have their own brand of intonation. Duke can take an exotic-sounding idea and create something – you might call it sophisticated crudity. It gives both the qualities that I look for – an earthy quality and the sophisticated quality.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing " Agra https://www.youtube.com/watch?v=P6MDDbrAqqg" from Far East Suite, as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu

Men, Way, Star, Idea

“Manufacture is a word, which, in the vicissitude of language, has come to signify the reverse of its intrinsic meaning, for it now denotes every extensive product of art, which is made by machinery, with little or no aid of the human hand; so that the most perfect manufacture is that which dispenses entirely with manual labour.”

Andrew Ure (1778–1857) Scottish doctor and chemist

Source: The Philosophy of Manufactures, 1835, p. 1

Perfection

“My wife [painter Musa McKim, ] on her own, did several other murals for the Section of Fine Arts. Then in 1940 and 1941 we moved out of New York City and came to Woodstock [at the age of 54] where we did the Laconia murals and several murals for the Presidents Lines, which were later turned into troop ships. I then went to teach at the University of Iowa where I finished the mural for the Social Security Building in Washington, D. C., in 1942 or 1943, I'm not sure which. With the exception of some visual aid material for the navy flight program in Iowa - navigational maps, etc.”

Phillip Guston (1913–1980) American artist

this marks the end of the mural period.
n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

Age, Universe

“No, you cannot expect people to understand the higher reaches of philosophy. Culture should be taken out of the hands of the dollar chasers. We need a national subsidy for literature. It is disgraceful that artists are treated like peddlers and that art works have to be sold like soap.”

Herbert Marcuse (1898–1979) German philosopher, sociologist, and political theorist

Negations: Essays in Critical Theory (1968)

People, Literature, Understanding

“Of course, art turns many people away for there has to be a limit. The limits between the gifted and the ungifted.”

Elfriede Jelinek book The Piano Teacher

P 27
The Piano Teacher (1988)

People

“I knew what a circle could do. Both eyes focus on it. It stamps itself out, like a dot. This, in turn, causes one's vision to spread, as in a mandala in Tantric art.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 8
Conversation with Karen Wilkin' (1986-1988)

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

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

1. The Child
Nietzsche (1965, 1999)

Life, Truth, Books, World

“I marvel’d how Man, by his GOD-sent wit,
Thus tam’d the salamander Element
And loos’d the Metal in the mountain pent
To make us Saws, and Shears, and useful Plows,
Swords for our hands, and Helmets for our brows,
The surgeon’s Scalpel, vehicle of Health,
And all our humble Tools for gaining wealth...
”De Arte Munificente,” Seventeenth century”

John Brunner book The Sheep Look Up

September “MOTHER-RAPERS”
The Sheep Look Up (1972)

God, Health, Mountain, Wealth

“…the use of the Disme …to teach such as doe not already know the use and practize of Numeration, and the foure principles of common Arithmetick, in whole numbers, namely, Addition, Substraction, Multiplication, & Division, together with the Golden Rule, sufficient to instruct the most ignorant in the usuall practize of this Art of Disme or Decimall Arithmeticke”

Simon Stevin (1548–1620) Flemish scientist, mathematician and military engineer

Disme: the Art of Tenths, Or, Decimall Arithmetike (1608)

“We desire to achieve to the socialist republic not only the recovery of the conditions of art, but also the beginning of a unified artistic area for our time.”

Max Pechstein (1881–1955) German artist

As quoted in German Expressionist Painting, Peter Selz, University of California Press, 1974, p. 313
Pechstein and others initiated in Nov. 1918 in Berlin the Novembergruppe, a socialist artist-group, competing then with Die Brücke

Time

“Ralegh's own circle, which turned Christopher Marlowe into a rationalist, was dominated by… Thomas Hariot. For navigation is dependent on astronomy; it went hand in hand with the new speculations about the world and the solar system… in turn, the voyages of the great navigators inspired the literature of Elizabethan England. The worlds of art and science and the physical world unfolded then together. It was not by accident that the first table of logarithms was published within a few years of the First Folio.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

"Sense and Sensibility"
The Common Sense of Science (1951)

World, Literature, Science, Dependency

“All of my films constitute a reaction against mainstream cinema. Every serious form of art sees the receiver as a partner in the undertaking. In fact, that's one of the preconditions of humanistic thought. In cinema, this fact, which should be self-evident, has been overlooked and replaced by an emphasis on the commercial aspects of the medium.”

Michael Haneke (1942) Austrian film director and screenwriter

In response to the question, "You're well known for not wanting to impose interpretations on your films. Is this because you believe that audiences have become accustomed to being spoon-fed and told what to think?"
as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51

“Art is a goddess of dainty thought, reticent of habit, abjuring all obtrusiveness, purposing in no way to better others. She is, withal selfishly occupied with her own perfection only — having no desire to teach.”

James McNeill Whistler (1834–1903) American-born, British-based artist

1870 - 1903, his lecture 'Ten O'Clock' (1885)

Way, Perfection

“…we have become rich in a variety of acquirements, favoured above measure in the gifts of Providence, unrivalled in commerce, pre-eminent in arts, foremost in the pursuits of philosophy and science, and established in all the blessings of civil society; we are in the possession of peace, of happiness, and of liberty; we are under the guidance of a mild and beneficent religion; and we are protected by impartial laws, and the purest administration of justice: we are living under a system of government which our own happy experience leads us to pronounce the best and wisest which has ever yet been framed; a system which has become the admiration of the world.”

William Pitt the Younger (1759–1806) British politician

Speech in the House of Commons (2 April 1792), reprinted in reprinted in W. S. Hathaway (ed.), The Speeches of William Pitt in the House of Commons. Volume I (London: 1817), p. 394.

Happiness, World, Peace, Religion

“Kandinsky was an optimist; he had been interested, at first, in fairy tales and legends and chivalrous themes of the past, but he then became increasingly interested, after 1908, in formulating what he called the art of the future rather than indulging in romantic visions of the past. Kubin, on the other hand was a pessimist, always haunted by the past and suspicious of the future. This basic difference in their temperaments made their discussions all the more fruitful, and their friendship was the more intense.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 118

Friendship, Past, Future

“Everybody has called Pop Art 'American' painting, but it's actually industrial painting. America was hit by industrialism and capitalism harder and sooner and its values see more askew... I think the meaning of my work is that it’s industrial; it’s what all the world will soon become. Europe will be the same way, soon, so it [Pop Art] won’t be American; it will be universal.”

Roy Lichtenstein (1923–1997) American pop artist

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

World, Way, Thinking, Universe

“Art enriches itself by eliminating artificial barriers between people such as borders between countries.”

Neelie Kroes (1941) Dutch politician

"A digital world of opportunities" http://europa.eu/rapid/pressReleasesAction.do?reference=SPEECH/10/619, Forum d'Avignon

People, Country

“On Steve's dancing ability- er, it's just like a bit of weird art”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 3 Episode 4
On Stephen Merchant

Dance

“In pursuance of my business and professional studies, I use the naked model.A number of my women pupils have for economy studied from each others' figures, and of these some have obtained from time to time my criticism on their work. I have frequently used as models for myself my male pupils: very rarely female pupils and then only with the knowledge and consent of their mothers.One of the women pupils some years ago gave to her lover who communicated it to Mr. Frank Stephens a list of these pupils as far as she knew them, and since that time Mr. Frank Stephens has boasted to witnesses of the power which this knowledge gave him to turn me out of the Academy, the Philadelphia Sketch Club, & the Academy Art Club, and of his intention to drive me from the city.”

Thomas Eakins (1844–1916) American painter

Letter to Emily Sartain (1886-03-25). Frank Stephens was Eakins' brother-in-law.

Women, Communication, Lovers, Business

“Classical music has struggled to keep up. Unlike any other art form, it keeps on looking backwards all the time. It used to have a real museum culture. Then it went: "Oh my God, what are we going to do? Call for Nigel Kennedy. Quick!" Classical musicians have got to change or die,' she asserts strongly, 'but they just don't know how to. Audiences for classical music have dropped. The old blue rinse audience is dying out, and young people aren't coming in.”

Joanna MacGregor (1959) British musician

On Classical Music

God, People, Music, Change

“In art honesty is not only the best but the only policy.”

W. Somerset Maugham book The Razor's Edge

p, 125
The Razor's Edge (1943)

“Nature as it is seen and nature as it is felt, the nature that is there.. (he pointed towards the green and blue plain; J. G.) and the nature that is here (he tapped his forehead, J. G.) both of which have to fuse in order to endure, to live that life, half human and half divine, which is the life of art or, if you will.. the life of god. The landscape is reflected, humanized, rationalized within me. I objectivize it, project it, fix it on my canvas..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 150, in: 'What he told me – I. The motif'

Life, God, Nature

“For the early Church, "church" and "world" were visibly distinct yet affirmed in faith to have one and the same lord. This pair of affirmations is what the so-called Constantinian transformation changes (I here use the name of Constantine merely as a label for this transformation, which began before AD200 and took over 200 years; the use of his name does not mean an evaluation of his person or work). The most pertinent fact about the new state of things after Constantine and Augustine is not that Christians were no longer persecuted and began to be privileged, nor that emperors built churches and presided over ecumenical deliberations about the Trinity; what matters is that the two visible realities, church and world, were fused. There is no longer anything to call "world"; state, economy, art, rhetoric, superstition, and war have all been baptized.”

John Howard Yoder (1927–1997) 20th century American Mennonite theologian

"The Otherness of the Church" (1961) in A Reader in Ecclesiology (2012), p. 200

War, World, Faith, Reality

“If the statistics are right, the Jews constitute but one percent of the human race. It suggests a nebulous dim puff of star dust lost in the blaze of the Milky Way. Properly the Jew ought hardly to be heard of, but he is heard of, has always been heard of. He is as prominent on the planet as any other people, and his commercial importance is extravagantly out of proportion to the smallness of his bulk. His contributions to the world's list of great names in literature, science, art, music, finance, medicine, and abstruse learning are also away out of proportion to the weakness of his numbers. He has made a marvellous fight in the world, in all the ages; and has done it with his hands tied behind him. He could be vain of himself, and be excused for it. The Egyptian, the Babylonian, and the Persian rose, filled the planet with sound and splendor, then faded to dream-stuff and passed away; the Greek and the Roman followed, and made a vast noise, and they are gone; other peoples have sprung up and held their torch high for a time, but it burned out, and they sit in twilight now, or have vanished. The Jew saw them all, beat them all, and is now what he always was, exhibiting no decadence, no infirmities of age, no weakening of his parts, no slowing of his energies, no dulling of his alert and aggressive mind. All things are mortal but the Jew; all other forces pass, but he remains. What is the secret of his immortality?”

Mark Twain book Concerning the Jews

Concerning the Jews (Harper's Magazine, Sept. 1899)

People, Secret, Age, World

“The whole system of symbolism impressed on the art and the life of the Middle Ages must awaken the admiration of poets in all times. In reality, what colossal unity there is in Christian art, especially in its architecture! These Gothic cathedrals, how harmoniously they accord with the worship of which they are the temples, and how the idea of the Church reveals itself in them! Everything about them strives upwards, everything transubstantiates itself; the stone buds forth into branches and foliage, and becomes a tree; the fruit of the vine and the ears of corn become blood and flesh; the man becomes God; God becomes a pure spirit. For the poet, the Christian life of the Middle Ages is a precious and inexhaustibly fruitful field. Only through Christianity could the circumstances of life combine to form such striking contrasts, such motley sorrow, such weird beauty, that one almost fancies such things can never have had any real existence, and that it is all a vast fever-dream the fever-dream of a delirious deity. Even Nature, during this sublime epoch of the Christian religion, seemed to have put on a fantastic disguise; for oftentimes though man, absorbed in abstract subtilties, turned away from her with abhorrence, she would recall him to her with a voice so mysteriously sweet, so terrible in its tenderness, so powerfully enchanting, that unconsciously he would listen and smile, and become terrified, and even fall sick unto death.”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Religion and Philosophy in Germany, A fragment https://archive.org/stream/religionandphilo011616mbp#page/n5/mode/2up, p. 26

Life, Death, God, Age

“I am for a form of art, that sees itself as one of the many means through which human society can be changed.”

Jörg Immendorff (1945–2007) German artist

Jörg Immendorff (1976), as cited in: William Packer. " Obituary: Jörg Immendorff http://www.guardian.co.uk/obituaries/story/0,,2101396,00.html," The Guardian, 13 June 2007

Change

“Since the word "knowledge" occurs in my general title… I am going to be talking about epistemology, although I prefer to use the eighteenth-century, indeed, medieval phrase, "natural philosophy."… that enterprise of the human mind which attempts to trace lawfulness to nature, dead and living, but which is not directed to specific inquiries into how this or that law works. Philosophy in the sense in which I practice it, natural philosophy, is concerned with lawfulness rather than with laws and the general nature of laws rather than with the specific structure of this or that law. Natural philosophy was one of the three topics (moral philosophy and metaphysical philosophy were the others) to which one graduated in medieval universities after having studied the seven liberal arts.
I believe that we need to review the whole of our natural philosophy in the light of scientific knowledge that has arisen in the last fifty years.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

The Origins of Knowledge and Imagination (1978)

Law, Nature, Knowledge, Sense

“Art is on the side of the oppressed. Think before you shudder at the simplistic dictum and its heretical definition of the freedom of art. For if art is freedom of the spirit, how can it exist within the oppressors?”

Edith Wharton (1862–1937) American novelist, short story writer, designer

Nadine Gordimer, "The Essential Gesture: Writers and Responsibility" http://www.tannerlectures.utah.edu/lectures/gordimer85.pdf, The Tanner Lectures on Human Values, University of Michigan (12 October 1984), p. 9 Misattributed

Thinking, Freedom

“The schism between Christianity and the arts has had two profound consequences, two vast impoverishments--one for the arts world, the other for the Church. First, for the arts world, the loss of a transcendent religious vision, a refined and rigorous sense of the sacred, the breaking and discarding of the two thousand years of Christian mythos, symbolism, and tradition has left contemporary American art spiritually diminished. The shallow novelty, the low-cost nihilism, and the vague and sentimental spiritual pretensions of so much contemporary art—in every medium—are the legacy of this schism, as well as the cynicism that pervades the arts world”

Dana Gioia (1950) American writer

26
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

World, Sense, Loss

“In a synchronistic way, the Jungian term of great significance for Carolyn Carlson, her art is in accord with Hölderlin's phrase, "Poetically, man dwells on this earth." After the century of Fascism, we enter the brave new world of the digital era where bombs are grafted inside the body in a corruption of the word spiritual that Malraux never imagined. For Carlson, the question is no longer, "How to live together?"”

Damian Pettigrew Canadian filmmaker

but rather, "How to live poetically our dwelling place?"
On the art of Carolyn Carlson, France Culture interview (December 2012)

World, Way, Imagination, Question

“Under its first two Indian editors [The Illustrated Weekly] became a vehicle of Indian culture devoting most of its pages to art, sculpture, classical dance and pretty pictures of flowers, birds, and dencing belles. It did not touch controversial subjects, was strictly apolitical and asexual (save occasional blurred reproductions of Khajuraho or Konarak). It earned a well-deserved reputation for dull respectability. I changed all that. What was a four-wheeled victoria taking well-draped ladies out to eat the Indian air I made a noisy rumbustious, jet-propelled vehicle of information, controversy and amusement. I tore up the unwritten norms of gentility, both visual and linguistic…. And slowly the circulation built up, till the Illustrated did become a weekly habit of the English-reading pseudo-elite of the country. It became the most widely read journal in Asia (barring Japan) because it reflected all the contending points of view on every conceivable subject: politics, economics, religion, and the arts.”

Khushwant Singh (1915–2014) Indian novelist and journalist

In Khushwant Singh's editor's page http://books.google.co.in/books?id=sNBOAAAAMAAJ, IBH Pub. Co., 1981, p. 4

Religion, Flowers, Bird, Change

“We [at the Bauhaus, in Dessau - where Klee was art teacher with Kandinsky ] construct and construct, and yet intuition still has its uses. Without it we can do a lot, but not everything... When intuition is joined to exact research it speeds the progress of exact research..”

Paul Klee (1879–1940) German Swiss painter

1921 - 1930
Source: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Teachers, Speed

“I see the future development of painting taking place in workshops.... not in any holy temple of the arts. Painting is manual labor, no different from any other. It can be done well or poorly.”

George Grosz (1893–1959) German artist

Quoted by William Bolcom, in The End of the Mannerist Century / quoted in Art of the 20th Century, Part 1, Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Christiane Fricke; publisher: Taschen 2000, p. 190

Future, Painting

“Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.”

Robert Smithson (1938–1973) American artist

Cultural Confinement, 1972

Imagination, Support

“I don`t want the reduction of religion to aesthetics, but the abolition of aesthetics & incorporating of art with the Word of God.”

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

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7

God, Religion

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 Articles and Interviews

Men, Children, People, World

“There science is dealing with physical facts, in art we are dealing with psychic effects. With this I come to my first statement: 'The source of art – that is, where it comes from – is the discrepancy between physical fact and psychic effect'. That's what I'm talking about. When I want to speak about why I am doing the same thing now, which is squares, for – how long? – 19 years. Because there is no final solution in any visual formulation. Although this may be just a belief on my part, I have some assurances that that is not the most stupid thing to do, through Cezanne whom I consider as one of the greatest painters. From Cézanne we have, so the historians tell us – 250 paintings of Mont St. Victoire. But we know that Cézanne has left in the fields often more than he took home because he was disappointed with his work. So we may conclude he did many more than 250 of the same problem.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Stupidity, Disappointment, Home, Problem

“The moral ideal has disappeared in all that has to do with international relations. The gain-seeking impulse supported by brute force has taken its place, and so far as the surface of things is concerned human civilization has gone back a full thousand years. Inconceivable though it be, we are brought face to face in this twentieth century with governments of peoples once great and highly civilized, whose word now means absolutely nothing. A pledge is something not to be kept, but to be broken. Cruelty and national lust have displaced human feeling and friendly international co-operation. Human life has no value, and the savings of generations are wasted month by month and almost day by day in mad attempts to dominate the whole world in pursuit of gain.
How has all this been possible? What has happened to the teachings and inspiring leadership of the great prophets and apostles of the mind, who for nearly three thousand years have been holding before mankind a vision of the moral ideal supported by intellectual power? What has become of the influence and guidance of the great religions Christian, Moslem, Hebrew, Buddhist with their counsels of peace and good-will, or of those of Plato and of Aristotle, of St. Augustine and of St. Thomas Aquinas, and of the outstanding captains of the mind Spanish, Italian, French, English, German who have for hundreds of years occupied the highest place in the citadel of human fame? The answer to these questions is not easy. Indeed, it sometimes seems impossible.
Are we, then, of this twentieth century and of this still free and independent land to lose heart and to yield to the despair which is becoming so widespread in countries other than ours? Not for one moment will we yield our faith or our courage! We may well repeat once more the words of Abraham Lincoln: "Most governments have been based on the denial of the equal rights of men, ours began by affirming those rights. We made the experiment, and the fruit is before us. Look at it think of it!"
However dark the skies may seem now, however violent and apparently irresistible are the savage attacks being made with barbarous brutality upon innocent women and children and non-combatant men, upon hospitals and institutions for the care of the aged and dependent, upon cathedrals and churches, upon libraries and galleries of the world s art, upon classic monuments which record the architectural achievements of centuries we must not despair. Our spirit of faith in the ultimate rule of the moral ideal and in the permanent establishment of liberty of thought, of speech, of worship and of government will not, and must not, be permitted to weaken or to lose control of our mind and our action.”

Nicholas Murray Butler (1862–1947) American philosopher, diplomat, and educator

Liberty-Equality-Fraternity (1942)

Life, Women, Men, Children

Quotes about art page 20

Quotes about art
page 20