Quotes about art
page 22

“Cradle of Letters! Mistress of the World!
Soil of the Sun! Italia! I salute thee!
How oft the human race have worn thy yoke.
The vessels of thine arms, thine arts, thy sky!”

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

Translations, From the French

World, Sun

“Flaming torches arching from hand to hand, the silken rolling of flesh on flesh, tautened wire vibrating to the human word, ideogrammatic gestures of fear, love, and rage, the mathematical grace of bodies moving through space—all seemed revealed as shadows on the void, the pauvre panoply of man’s attempt to transcend the universe of space and time through the transmaterial purity of abstract form.
Yet beyond this noble dance of human art, the highest expression of our spirit’s striving to transcend the realm of time and form, lay that which could not be encompassed by the artifice of man. From nothing are we born, to nothing do we go; the universe we know is but the void looped back upon itself, and form is but illusion’s final veil.
We touch that which lies beyond only in those fleeting rare moments when the reality of form dissolves—through molecule and charge, the perfection of the meditative trance, orgasmic ego-loss, transcendent peaks of art, mayhap the instant of our death.
Vraiment, is not the history of man from pigments smeared on the walls of caves to our present starflung age, our sciences and arts, our religions and our philosophies, our cultures and our noble dreams, our heroics and our darkest deeds, but the dance of spirit round this central void, the striving to transcend, and the deadly fear of same?”

Norman Spinrad book The Void Captain's Tale

Source: The Void Captain's Tale (1983), Chapter 10 (p. 117)

Love, Death, Age, Fear

“And in this sense [of using 'poor' material / arte povare] I've been influenced by or related to some Dadaist forerunner, Duchamp, Schwitters... But there are other aspects of the 'ascetic' function, of the 'sacralisation' of the world around us which I've referred to.... the 'supreme identity' of Samsara with Nirvana. The use of new materials, collage and assemblage, became quite widespread among some new artists of that time.”

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

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), pp. 7-8
1971 - 1980, Memòria Personal', 1977

World, Sense, Time

“It was around 1935 or 1936 that I first had the idea of compiling a history of art – not in the usual way, but considering only the fads that have succeeded one another down through the ages. For example, the infatuation in Roman times with broken pleats and heads turned in profile.... or during the epoch of Pérugin and Raphael, a certain blue that appears everywhere. I wanted to draw up an inventory of these vogues. To this end I visited museums, took notes in little notebooks, and made demonstrative sketches of paintings. For this purpose I preferred bad paintings, by which I mean those held to be mediocre by aesthetes, but in which these fads that interested me were clearly in evidence.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Batons rompus, 1986, pp. 17, 18

Age, Way, History, Idea

“Well, we will indeed see how things develop and what will become of our art! In any case, artists should remain apolitical and only think of their work and dedicate all their energies to this work.”

Wassily Kandinsky (1866–1944) Russian painter

to Werner Drewes, 10 April 1933; 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 both were closely connected with the Bauhaus, closed by the Nazi-regime in 1933 1930 - 1944

Thinking

“Jesus Christ has not come to establish social justice any more than he has come to establish the power of the state or the reign of money or art. Jesus Christ has come to save men, and all that matters is that men may come to know him. We are adept at finding reasons—good theological, political, or practical reasons, for camouflaging this. But the real reason is that we let ourselves be impressed and dominated by the forces of the world, by the press, by public opinion, by the political game, by appeals to justice, liberty, peace, the poverty of the third world, and the Christian civilization of the west, all of which play on our inclinations and weaknesses. Modern protestants are in the main prepared to be all things to all men, like St. Paul, but unfortunately this is not in order that they may save some but in order that they may be like all men.”

Jacques Ellul (1912–1994) French sociologist, technology critic, and Christian anarchist

Source: The Ethics of Freedom (1973 - 1974), p. 254

Men, Money, World, Peace

“In the appreciation of a work of art or an art form, consideration of the receiver never proves fruitful. Not only is any reference to a particular public or its representatives misleading, but even the concept of an "ideal" receiver is detrimental in the theoretical consideration of art, since all it posits is the existence and nature of man as such. Art, in the same way, posits man's physical and spiritual existence, but in none of its works is it concerned with his attentiveness. No poem is intended for the reader, no picture for the beholder, no symphony for the audience.”

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

Nirgends erweist sich einem Kunstwerk oder einer Kunstform gegenüber die Rücksicht auf den Aufnehmenden für deren Erkenntnis fruchtbar. Nicht genug, dass jede Beziehung auf ein bestimmtes Publikum oder dessen Repräsentanten vom Wege abführt, ist sogar der Begriff eines "idealen" Aufnehmenden in allen kunsttheoretischen Erörterungen vom Übel, weil diese lediglich gehalten sind, Dasein und Wesen des Menschen überhaupt vorauszusetzen. So setzt auch die Kunst selbst dessen leibliches und geistiges Wesen voraus—seine Aufmerksamkeit aber in keinem ihrer Werke. Denn kein Gedicht gilt dem Leser, kein Bild dem Beschauer, keine Symphonie der Hörerschaft.
The Task of the Translator (1920)

Way, Nature

“Self-painting is a further development of the art of painting. The surface of an image has lost its function as the sole means of conveying expression. It was taken back to its roots, to the wall, to the object, to the living being, to the human body. By using my body as a means of conveying expression, the result created is a happening captured by a camera as it progresses, and an experience which viewers can share.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 140 (1985)

Painting

“There is an art to knowing where things should be checked and making sure that the program fails fast if you make a mistake. That kind of choosing is part of the art of simplification.”

Ward Cunningham (1949) American computer programmer who developed the first wiki

A Conversation with Ward Cunningham (2003), The Simplest Thing that Could Possibly Work

Parting

“What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat ik mij voorstel met de nieuwe cursus te doen is: 's morgens grootpleister en 's middags schilderen of naar de natuur teekenen. waarmede ik reeds eenige tijd bezig ben. en paarden in de Stadsrijschool. De Dir. daarvan is den Heer Krüger een alleraardigste duitscher, die nat. veel paarden gezien heeft en me dus de fouten weet te zeggen, die ik maak en die niet weinige zijn. early quote of Breitner in his letter to his Maecenas A.P. van Stolk, 11 April 1878; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/585 before 1890

School, Nature, Time, Horse

“I relish the fact that we New Yorkers talk funny, and that art deco skyscrapers symbolize our city. […] But we must set boundaries to this love of variety. I accept the need, even the blessings, of standardization in practical matters: we require a worldwide telephone dialing system and a network of national highways […]. We need domains of standardization, and realms of regionalism, each in its appropriate place, and linked in mutual respect and recognition. I accept and even want McDonalds at the highway interchange—but not in my little neighborhood of ethnic restaurants, and not next to the Corn Palace in Mitchell, South Dakota.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"Baseball : Joys and Lamentations", p. 309; originally published in The New York Review of Books (1993-11-04)
Triumph and Tragedy in Mudville (2003)

Love

“poetry and every other art was and is and forever will be strictly and distinctly a question of individuality…. poetry is being, not doing…. if poetry is your goal, you've got to forget all about punishments and all about rewards and all about selfstyled obligations and duties and responsibilities...”

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

"i & their son: Nonlecture Two"
i : six nonlectures (1953)

Question, Forgetting

“Bittersweet creatures : So what is art, that it can enhance social abilities and transform the self? First of all, art is something that lasts and can spread to others. So although one can imagine a lover whispering an improvised poem into her lover’s ear, for the most part a poem will travel in time and space, and last beyond the moment of its conception.”

Keith Oatley (1939) Anglo-Canadian psychologist

" Changing our Minds http://peacecenter.berkeley.edu/greatergood/2009winter/Oatley653.php," originally published in Changing our Minds magazine.

Travel, Imagination, Lovers, Time

“To select, combine and concentrate that which is beautiful in nature and admirable in art is as much the business of the landscape painter in his line as in the other departments of art.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote of Turner, c. 1810; as quoted in: Dennis Hugh Halloran (1970) The Classical Landscape Paintings of J.M.W. Turner. p. 75
1795 - 1820

Beauty, Business, Nature

“Today I visited Van Gogh's exhibition. I can not help it, but I think it's art for Eskimos, I can not enjoy it. I find it fairly crude and obnoxious, without the slightest distinction, and besides that everything is stolen from Millet and others.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Vandaag ben ik op de expositie van Van Gogh geweest. Ik kan het niet helpen, maar ik vind het kunst voor Eskimo's, ik kan er niet van genieten. Ik vind het eerlijk grof en onhebbelijk, zonder de minste distinctie, en buitendien alles nog een gestolen goedje van Millet en anderen. Breitner's quote in his letter to Mrs. Van der Weele, (nr. 36) 25 Dec. 1892; as cited by P.H. Hefting, 'Brieven van G.H. Breitner aan H.J. van der Weele' https://dspace.library.uu.nl/handle/1874/245951, in Nederlands Kunsthistorisch Jaarboek 27 1976, pp. 112-172 Breitner wrote his letter after visiting the large Van Gogh-exhibition in the Panorama Room, December 1892 1890 - 1900

Thinking, Help

“Now as for thinking your account a tale or story, my dear Franz, to be a good story is to me the highest the highest test of the truth of anything. I make no distinction whatever between reality and fantasy, or the objective and the subjective. All life and all awareness are ultimately one, including intensest pain and death itself. Not all the play need please us, and ends are never comforting. Some things fit together harmoniously and beautifully and startlingly with thrilling discords—those are true—and some do not, and those are merely bad art.”

Fritz Leiber book Our Lady of Darkness

Source: Our Lady of Darkness (1977), Chapter 17 (p. 95)

Life, Death, Pain, Truth

“Nature is inside art as its content, not outside as its model.”

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

Fables of Identity (1963)
"Quotes"

Nature

““Late Shri. Cakyar, was not just a skilled exponent and a capable teacher of Kutiyattam, his wisdom and depth of knowledge made him worthy of the title "Acharya" ”
- Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature), 1994”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya Source: Nāṭyakalpadruma : Kerala kī Kūṭiyāṭṭam nāṭyakalā kī rūparekhā http://worldcat.org/oclc/44811805&referer=brief_results(Hindi translation), Mani Madhava Chakyar, Dr. Prem Lata Sharma (Ed), Sangeet Natak Akademi New Delhi, 1994

Wisdom, Literature, Knowledge, Teachers

“I grant you that the artist does not see Nature as she appears to the vulgar, because his emotion reveals to him the hidden truths beneath appearances.
But, after all, the only principle in Art is to copy what you see. Dealers in esthetics to the contrary, every other method is fatal. There is no recipe for improving nature.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. I. Realism in Art, p. 33

Truth, Nature, Appearance

“I was surprised, while preparing this lecture, to notice how, among my friends who had read the book, a division into two groups appeared. Both groups are equally discerning and educated, and as far as I can tell, equal in numbers. One group is eager to say that they don't understand a word of it, and there are artists and historians among them. Those of the other group claim that they understood it all on first reading, without difficulty. Of course I believe them both, without understanding the combination that separates them so sharply. Perhaps distinctive and contrasting features in the comprehension of works of art are responsible. What I say speaks to some, but not to others. Some are ready, and others are not. But when both someday find that they agree in understanding it, that day may be its last as a book alive in the dissension over its intelligibility.”

George Kubler (1912–1996) American art historian

George Kubler (1982)"The Shape of Time, Reconsidered," in: Perspecta (Volume 19, MIT Press)

Books, Education, Intelligence, Understanding

“Love, like medicine, is only the art of encouraging nature.”

Pierre Choderlos de Laclos book Les Liaisons dangereuses

L'amour est, comme la médecine, seulement l'art d'aider à la nature. Letter 10: La Marquise de Merteuil to le Vicomte de Valmont. Trans. P.W.K. Stone (1961). http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses_-_Lettre_10 Les liaisons dangereuses (1782)

Love, Nature

“I don't see why escapist literature should not also be a work of art.”

P. D. James (1920–2014) English crime writer

Time to be Earnest - a Fragment of Biography

Literature

“I realized very soon the danger of repeating indiscriminately this form of expression and decided to limit the production of 'ready-mades' to a small number yearly. I was aware at that time, that for the spectator even more than for the artist, art is a habit forming drug and I wanted to protect my 'ready-mades' against such contamination.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

Time

“I already realized [that time] that only a new study of nature and a new attitude towards life would bring the much-needed renewal of German art.”

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

looking back to his early art-student years in Munich [c. 1903/4], when he was standing before the artdeco paintings of Leo Putz and Fritz Erler undated Source: Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 26 (translation: Claire Louise Albiez https://www.researchgate.net/publication/272168564)

Life, Nature, Study, Time

“Please help me, in order to get us invited [to the United States]. Helma [his wife] will then come later and I will work there and soon pay back the people who lend me the money. But finally I must get out of this internment [because the English mistrusted Schwitters, being a German] and further away from Norway, I want to be with all of you. Please get it done quickly and write to me about the outcome. Maybe my art is in danger and I, of course, with it. At last I would like to work on my abstracts again and find appreciation for them. Who knows what will happen?”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 46 : in a letter (22 October 1941) to Käthe Steinitz, written from the internment camp on Isle of Man, England.

Money, People, Help

“When, as a result of what was called Enlightenment in the eighteenth century, the priests had in fact almost entirely lost this function of guidance. Their place was taken by writers and scientists. In both cases it is equally absurd. Mathematics, physics, and biology are as remote from spiritual guidance as the art of arranging words. When that function is usurped by literature and science it proves there is no longer any spiritual life.”

Simone Weil (1909–1943) French philosopher, Christian mystic, and social activist

“Morality and literature,” pp. 164-165
On Science, Necessity, and the Love of God (1968)

Life, Literature, Mathematics, Science

“It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it.”

Asger Jorn (1914–1973) Danish artist

Quote of Jorn, from: Tecken för liv, tecken till liv [Signs of life, the characters to life], interview by Marita Lindgren-Fridell, in Konstrevy (1963)
1959 - 1973, Various sources

Appearance

“Take care for this, don't start with the sentiment first, [because] that's where a piece of art is ending with - but the good start is drawing good and right. (translation from original Dutch, Fons Heijnsbroek, 2018)”

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

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) denk daar goed om, niet eerst het sentiment, daar eindigt een kunststuk mede, maar goed en juist teekenen is het goede begin.
In a letter of Anton Mauve to his student , from Laren 1885; as cited in Anton Mauve, (exhibition catalog of Teylers Museum, Haarlem / Laren, Singer), ed. De Bodt en Plomp, 2009, p. 120
1880's

Drawing

“Nothing can be more untrue than to pretend that the general religious mind of India has not at all grasped the higher spiritual or metaphysical truths of Indian religion. It is a sheer falsehood or a wilful misunderstanding to say that it has lived always in the externals only of rite and creed and shibboleth. On the contrary, the main metaphysical truths of Indian religious philosophy in their broad idea-aspects or in an intensely poetic and dynamic representation have been stamped on the general mind of the people. The ideas of Maya, Lila, divine Immanence are as familiar to the man in the street and the worshipper in the temple as to the philosopher in his seclusion, the monk in his monastery and the saint in his hermitage. The spiritual reality which they reflect, the profound experience to which they point, has permeated the religion, the literature, the art, even the popular religious songs of a whole people.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

Indian Spirituality and Life (1919)

People, Truth, Religion, Literature

“I can’t think of better ways to learn than through pleasure and curiosity. I guess the reason these two qualities play so small a role in formal education is that they are so subjective and individual. Curiosity and delight can’t be institutionalized.Childhood and adolescence form our sensibilities. By the time I arrived in college, I had already developed a deep suspicion of all theories of art that did not originate in pleasure.”

Dana Gioia (1950) American writer

"Lonely Impulse of Delight: One Reader's Childhood," http://www.danagioia.net/essays/elonely.htm The Southern Review (Winter 2005) Essays

Pleasure, Education, Way, Thinking

“The Paleolithic hunters who painted the unsurpassed animal murals on the ceiling of the cave at Altamira had only rudimentary tools. Art is older than production for use, and play older than work. Man was shaped less by what he had to do than by what he did in playful moments. It is the child in man that is the source of his uniqueness and creativeness, and the playground is the optimal milieu for the unfolding of his capacities.”

Eric Hoffer (1898–1983) American philosopher

Source: Reflections on the Human Condition (1973), p. 20

Optimism, Animals, Painting

“I met him [Arshile Gorky] in 1929. Of course I met a lot of artists, but then I met Gorky. Well I had some training in Holland, quite a training, you know, The Academy. And then I met Gorky [in New York], who didn't have that at all, he became from no place [Tiflis, Armenia]... And for some mysterious reason, he knew lots more about painting, and art, he just knew it by nature - things I was supposed to know and feel and understand - he really did it better. He had an extraordinary gift for hitting the nail on the head, very remarkable, so I immediately attached myself to him and we became very good friends.”

Willem de Kooning (1904–1997) Dutch painter

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 47
1960's

Feeling, Understanding, Nature, Painting

“The real world with its common logic pushes us toward catastrophe. The artists seek in his work to free himself from this weight. Art is being transformed into politics, love into trade, education into an apparatus for stifling the mind. In the midst of such horrors, clearly only the dream within me has life. But how do other people live? -There is color, virginal expression - new, without a cage, without routine, without limit, a bath of sun and light. We must realize that nothing man does is of any value. The trouble is that people want to be paid. Only sick men can be artists. Their suffering pushes them into the accomplishment of deeds which reinvest the world with meaning. The sensitive man or the artist can only be a sick man in our civilized life, so full of lies. To think of art as a profession, how appealing!”

Bram van Velde (1895–1981) Dutch painter

Painting is man in the face of his downfall.
1960's
Source: Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 134

Love, Life, Men, People

“For the majority, I take it, who live all their lives with such obtuse faculties of thinking, it is a difficult thing to perform this feat of mental analysis and of discriminating the material vehicle from the immanent beauty, … Owing to this men give up all search after the true Beauty. Some slide into mere sensuality. Others incline in their desires to dead metallic coin. Others limit their imagination of the beautiful to worldly honours, fame, and power. There is another class which is enthusiastic about art and science. The most debased make their gluttony the test of what is good. But he who turns from all grosser thoughts and all passionate longings after what is seeming, and explores the nature of the beauty which is simple, immaterial, formless, would never make a mistake like that when he has to choose between all the objects of desire; he would never be so misled by these attractions as not to see the transient character of their pleasures and not to win his way to an utter contempt for every one of them. This, then, is the path to lead us to the discovery of the Beautiful. All other objects that attract men's love, be they never so fashionable, be they prized never so much and embraced never so eagerly, must be left below us, as too low, too fleeting, to employ the powers of loving which we possess; not indeed that those powers are to be locked up within us unused and motionless; but only that they must first be cleansed from all lower longings; then we must lift them to that height to which sense can never reach.”

Gregory of Nyssa (335–395) bishop of Nyssa

On Virginity, Chapter 11

Love, Men, Pleasure, Beauty

“Many people do not realise that it takes considerably more art and skill to play the violin lightly than it does to play it loudly. Indeed, the best possible training for young violinists is learning to play pianissimo and without pressure.”

Yehudi Menuhin (1916–1999) American violinist and conductor

Source: Life class: thoughts, exercises, reflections of an itinerant violinist, p. 68

People, Learning, Training

“For art, the intervention of capital always signals a further degree of mediation. To say that art is commodified is to say that a mediation, or standing-in-between, has occurred, & that this betweenness amounts to a split, & that this split amounts to "alienation". Improv music played by friends at home is less "alienated" than music played "live" at the Met, or music played through media (whether PBS or MTV or Walkman). In fact, an argument could be made that music distributed free or at cost on cassette via mail, is less alienated than live music played at some huge We Are The World spectacle or Las Vegas niteclub, even though the latter is live music played to a live audience (or at least so it appears), while the former is recorded music consumed by distant & even anonymous listeners.”

Hakim Bey (1945) American political writer, poet and essayist

Immediatism (AK Press: 1994)

World, Music, Home, Distant

“What are books but folly, and what is an education but an arrant hypocrisy, and what is art but a curse when they touch not the heart and impel it not to action?”

Louis Sullivan (1856–1924) American architect

This exact expression has not been located in available editions of this work, and might be simply a paraphrase of the above statement.
Variant: To teach is to touch the heart and impel it to action.
Source: Kindergarten Chats (1918), Ch. 36 : Another City

Books, Education, Heart

“Behold on wrong
Swift vengeance waits; and art subdues the strong!
Dwells there a god on all the Olympian brow
More swift than Mars, and more than Vulcan slow?
Yet Vulcan conquers, and the god of arms
Must pay the penalty for lawless charms.”

Homér The Odyssey (Cowper)

VIII. 329–331 (tr. Alexander Pope).
Odyssey (c. 725 BC)

God, Penalty, Strong, Waiting

“The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable significance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.”

George Perle (1915–2009) American composer

Pages 42-43
The Listening Composer

Music, Thinking, Universe, Change

“Wherever there is degeneration and apathy, there also is sexual perversion, cold depravity, miscarriage, premature old age, grumbling youth, there is a decline in the arts, indifference to science, and injustice in all its forms.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to A.S. Suvorin (December 27, 1889)
Letters

Youth, Age, Science, Indifference

“Art is man's nature; nature is God's art.”

Philip James Bailey Festus

Proem
Festus (1839)

God, Nature

“Visionary idealism is a male art form. The lesbian aesthete does not exist. But if there were one, she would have learned from the perverse male mind.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 117

Learning

“Few things are more shocking to those who practice the arts of success than the frank description of those arts.”

Logan Pearsall Smith (1865–1946) British American-born writer

“English Aphorists,” p. 123
Reperusals and Recollections (1936)

Success

“Nature has always been recorded by artists, from prehistoric cave paintings to twentieth-century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking … My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art.”

Richard Long (1945) artist

Richard Long in: Ben Tufnell (ed.), Richard Long: Selected Statements & Interviews, London 2007, p. 39; Cited in: " Richard Long: A Line Made by Walking 1967 http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-ar00142/text-summary," at Tate.org 2000s

Way, Idea, Nature, Grass

“Synthesis of systems is much more difficult. Here science and engineering begin to take on aspects of art. A systems designer or planner not only must construct systems that work harmoniously individually and in tandem, he must also know a lot about the environment that the system is intended to match. Consideration of environmental factors requires foresight and experience; no one can ever foresee all the variables of importance and a choice of which to include is often a difficult one to make.”

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

Source: Definition of System, 1956, p. 28

Science

“Artists are mechanics who work with their hands, making things. Artists are involved with the means of creativity, the nature of skills, the revelation of making. Art comes from the work, I see a painting as an expressive entity. There's no picture that I know of where the subject carries as much expressive possibility as the actual execution of the picture.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

Nature, Painting

“Amateurism is an emptiness and I accept it because it has no preconceived ideas or rules to be applied. This is for me [as art teacher] a most welcome situation and I like to keep my students amateurs and dilettantes.”

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

Source: Homage to the square' (1964), A conversation with Josef Albers' (1970), p. 459

Idea, Teachers

“I do clasp our lord yet, and have not allowed him to depart; therefore, I shall follow him. My appetite hath not been appeased. Thou art my older sister, O let me have thy sanction. This foremost one of the Bharata princes had approached me, desiring to have intercourse. His appetite unsatiated, shall I not follow him in the region of Yama to gratify him? O revered one, if I survive thee, it is certain I shall not be able to rear thy children as if they were mine. Will not sin touch me on that account? But, thou, O Kunti, shall be able to bring my sons up as if they were thine. The king, in seeking me wishfully, hath gone to the region of spirits; therefore, my body should be burnt with his. O revered sister, withhold not thy sanction to this which is agreeable to me. Thou wilt certainly bring up the children carefully. That indeed, would be very agreeable to me. I have no other direction to give!”

Kunti character from Indian epic Mahabharata

Madri to Kunti
Madri then ascended the funeral pyre of her lord Pandu
The Mahabharata/Book 1: Adi Parva/Section CXXV

Children, Sister

“When I am trying to understand the method of winning in the endgame with two bishops against the knight, chess is a science, when I admire a beautiful combination or study, then chess is art, and when I am complicating position in the approaching time trouble of my opponent, then chess is sport.”

Ashot Nadanian (1972) chess player

S'pore Chess News, 7 September 2010 http://www.singaporechessnews.com/reflections_1.html

Beauty, Understanding, Sport, Study

“Good Lord, I see Thee that art very Truth; and I know in truth that we sin grievously every day and be much blameworthy; and I may neither leave the knowing of Thy truth, nor do I see Thee shew to us any manner of blame. How may this be?
For I knew by the common teaching of Holy Church and by mine own feeling, that the blame of our sin continually hangeth upon us, from the first man unto the time that we come up unto heaven: then was this my marvel that I saw our Lord God shewing to us no more blame than if we were as clean and as holy as Angels be in heaven.”

Julian of Norwich (1342–1416) English theologian and anchoress

Summations, Chapter 50
Context: Yet here I wondered and marvelled with all the diligence of my soul, saying thus within me: Good Lord, I see Thee that art very Truth; and I know in truth that we sin grievously every day and be much blameworthy; and I may neither leave the knowing of Thy truth, nor do I see Thee shew to us any manner of blame. How may this be?
For I knew by the common teaching of Holy Church and by mine own feeling, that the blame of our sin continually hangeth upon us, from the first man unto the time that we come up unto heaven: then was this my marvel that I saw our Lord God shewing to us no more blame than if we were as clean and as holy as Angels be in heaven. And between these two contraries my reason was greatly travailed through my blindness, and could have no rest for dread that His blessed presence should pass from my sight and I be left in unknowing how He beholdeth us in our sin. For either behoved me to see in God that sin was all done away, or else me behoved to see in God how He seeth it, whereby I might truly know how it belongeth to me to see sin, and the manner of our blame. My longing endured, Him continually beholding; — and yet I could have no patience for great straits and perplexity, thinking: If I take it thus that we be no sinners and not blameworthy, it seemeth as I should err and fail of knowing of this truth; and if it be so that we be sinners and blameworthy, — Good Lord, how may it then be that I cannot see this true thing in Thee, which art my God, my Maker, in whom I desire to see all truths?

God, Truth, Angels, Feeling

“There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age.”

Wassily Kandinsky (1866–1944) Russian painter

I. Kandinsky's introduction
1910 - 1915, Concerning the Spiritual in Art, 1911

Truth, Age, Feeling

“In the sixties, the recycling of pop culture — turning it into Pop art and camp — had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures — and they use them not as larger-than-life jokes but as altars.”

Pauline Kael book State of the Art

"A Bad Dream/A Masterpiece," review of The Moon in the Gutter (1983-09-19), p. 48.
State of the Art (1985)

Life, Past

“I really learned how to look at art.... before 1960. And in a sense that sharpened my eye for abstract pictures. Because, it's light in the painting that makes it work. It's light in the painting that makes it work.”

Helen Frankenthaler (1928–2011) American artist

quote about the role of light
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Sense, Light, Learning, Painting

“A work of genius is a complex object and there is light to be shed about what went into the making of it. Even in the case of scientific and mathematical achievement we can say a great deal about the existing state of knowledge, the problems it failed to address, why those problems were or had become interesting, the particular capacities which the solver brought to their solution. At the other extreme is a work of art which seems to have much more immediate roots in the personal life of the artist or writer. In between is the area in which Keynes worked, which was partly scientific, partly artistic. This gives a wide justification for a biographical approach. As I put it in the introduction to my first volume: 'If underlying Keynesian theory was Keynes's vision of his age, knowledge of his state of mind and the circumstances which formed it is essential, not only in order to understand how he came to see the world as he did, but also in order to pass judgement on the theory itself.”

Robert Skidelsky (1939) Economist and author

John Maynard Keynes: 1883-1946: Economist, Philosopher, Statesman (2003), Introduction

Life, Age, World, Mathematics

“Illusionistic art appeals to what the public knows not about art but about things. This ability to brush art aside is the secret of the popularity of illusionism. Ever since the Greeks told of painted grapes being pecked by real birds, wonder at skill in deceiving the eye has moved more people than appreciation of aesthetic quality. But for art to depend exclusively upon reproducing appearances has the disadvantage of requiring that the painting or sculpture conform to the common perception of things.”

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

Source: Art on the Edge, (1975), p. 239, "Reality Again: The New Photorealism"

People, Secret, Bird, Appearance

“The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art.”

Ad Reinhardt (1913–1967) American painter

Quote of Ad Reinhardt (1963); as cited in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html" 1956 - 1967 Variant: The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art.

“A new view of the role of art and science in cartography is clearly needed. It is probably a mistake to view maps as objects that contain varied amounts of scientific or artistic content for which we must determine an appropriate balance (as both Keates, 1984, and Robinson, 1952, seem to, with Keates arguing for more art and Robinson for more science). Instead, it makes more sense to consider complementary artistic and scientific approaches to studying and improving maps, both of which can be applied to any given cartographic problem. The artistic approach is intuitive and holistic, achieving improvements through experience supplemented by critical examination (where critical examination implies expert appraisal of the results of our cartographic decision-making efforts). It draws on science in using perspective, understanding of human vision, color theory, and so on.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 9

Color, Understanding, Problem, Decision

“There are various ways of flattering, and, of course, you must adapt your style to your subject. Some people like it laid on with a trowel, and this requires very little art. With sensible persons, however, it needs to be done very delicately, and more by suggestion than actual words. A good many like it wrapped up in the form of an insult, as—"Oh, you are a perfect fool, you are. You would give your last sixpence to the first hungry-looking beggar you met;" while others will swallow it only when administered through the medium of a third person, so that if C wishes to get at an A of this sort, he must confide to A's particular friend B that he thinks A a splendid fellow, and beg him, B, not to mention it, especially to A. Be careful that B is a reliable man, though, otherwise he won't.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

People, Fools, Way, Confidence

“Movement is the translation of life and if art depicts life, movement should come into art, since we are only aware of life, because it moves.”

Henri Gaudier-Brzeska (1891–1915) French painter and sculptor

Letter to Sophie Brzeska-Savage Messiah By H S (Jim) Ede Heinimann (1931)

Life

“Poetry is the art of uniting pleasure with truth, by calling imagination to the help of reason.”

Samuel Johnson (1709–1784) English writer

The Life of Milton
Lives of the English Poets (1779–81)

Pleasure, Truth, Imagination, Help

“Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.”

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

Source: The Nude: A Study in Ideal Form (1951), Ch. VI: Pathos

Thinking, Parting

““And Festus said with a loud voice, Paul, thou art beside thyself.”
Acts 26:24.
And so say all the world, the men who know not God, of all that are of Paul’s religion: of every one who is so a follower of him as he was of Christ. It is true, there is a sort of religion, nay, and it is called Christianity too, which may be practised without any such Imputation, which is generally allowed to be consistent with common sense, —that is, a religion of form, a round of outward duties, performed in a decent, regular manner. You may add orthodoxy thereto, a system of right opinions, yea, and some quantity of heathen morality; and yet not many will pronounce, that “much religion hath made you mad.” But if you aim at the religion of the heart, if you talk of “righteousness, and peace, and joy in the Holy Ghost,” then it will not be long before your sentence is passed, “Thou art beside thyself.””

John Wesley (1703–1791) Christian theologian

Sermons on Several Occasions (1771) Source: Sermon 37 "The Nature of Enthusiasm" http://www.ccel.org/ccel/wesley/sermons.v.xxxvii.html

Men, God, World, Peace

“The Reality? Is it then so certain that Life is made of four Absurdities?
Is it not far more certain that life is made up of Four Beauties
of Calmness, Joy, Harmony, Rhythm…
The truest reality.
And what of the expression of all this — Art?
Must Pandemonium and Ugliness ever stand for Strength?”

Edward Gordon Craig (1872–1966) Modernist stage designer and theatre director

Introduction to Isadora Duncan : Six Movement Designs (1906)
Quote

Life, Beauty, Reality, Joy

“The true architectural art, that art toward which I would lead you, rests, not upon scholarship but upon human powers; and, therefore, it is to be tested, not by the fruits of scholarship, but by the touch-stone of humanity.”

Louis Sullivan (1856–1924) American architect

Source: Kindergarten Chats (1918), Ch. 10 : A Roman Temple

“Drake, he's in his hammock till the great Armadas come,
(Captain, art tha sleepin' there below?)
Slung atween the roundshot, list'ning for the drum,
And dreamin' arl the time o' Plymouth Hoe.”

Henry Newbolt (1862–1938) English poet and writer

Song Drake's Drum (NB: the odd spelling reflects the Devon dialect).

Time

“All knowledge, not only that of the natural world, can be used for evil as well as good: and in all ages there continue to be people who think that its fruit should be forbidden. Does the future wlfare, therefore, of mankind depend of a refusal of science and a more intensive study of the Sermon on the Mount? There are others who hold the contray opinion, that more and more of science and its applications alone can bring prosperity and happiness to men. Both of these extremes views seem to me entirely wrong - though the second is the more perilous as more likely to be commonly accepted. The so-called conflict between science and religion is usually about words, too often the words of their unbalanced advocates: the reality lies somewhere in between. "Completeness and dignity", to use Tyndall's phrase, are brought to man by three main channels, first by the religiouos sentiment and its embodiment of ethical principles, secondly by the influence of what is beautiful in nature, human personality, or art, and thirdly, by the pursuit of scientific truth and its resolute use in improving human life. Some suppose that religion and beauty are incompatible: others, that the aesthetic has no relation to the scientific sense: both seem to me just as mistaken as those who hold that the scientific and the religious spirit are necessarily opposed. Co-operation is required, not conflict: for science can be used to express and apply the principles of ethics, and those principles themselves can guide the behaviour of scientific men: while the appreciation of what is good and beautiful can provide to both a vision of encouragement. Is there really then any special ethical dilemma which we scientific men, as distinct from other people, have to meet? I think not: unless it be to convince ourselves humbly that we are just like others in having moral issues to face. It is true that integrity of thought is the absolute condition of oour work, and that judgments of value must never be allowed to deflect our judgements of fact. But in this we are not unique. It is true that scientific research has opened up the possibility of unprecedented good, or unlimited harm, for manking: but the use is made of it depends in the end on the moral judgments of the whole community of men. It is totally impossible noew to reverse the process of discovery: it will certainly go on. To help to guide its use aright is not a scientific dilemma, but the honourable and compelling duty of a good citizen.”

Archibald Hill (1886–1977) English physiologist and biophysicist

The Ethical Dilemma Of Science, Hill, 1960. The Ethical Dilemma of Science and Other Writings https://books.google.com.mx/books?id=zaE1AAAAIAAJ&printsec=frontcover#v=onepage&q&f=false. Rockefeller Univ. Press, pp. 88-89

Life, Men, Happiness, People

“All the Fathers with one heart execrated, and with one mouth protested against, contaminating the word of God with the subtleties of sophists, and involving it in the brawls of dialecticians. Do they keep within these limits when the sole occupation of their lives is to entwine and entangle the simplicity of Scripture with endless disputes, and worse than sophistical jargon? So much so, that were the Fathers to rise from their graves, and listen to the brawling art which bears the name of speculative theology, there is nothing they would suppose it less to be than a discussion of a religious nature.”

John Calvin book Institutes of the Christian Religion

Prefatory Address, p. 22
Institutes of the Christian Religion (1536; 1559)

God, Nature, Heart

“My paintings do no more than give an idea of my wanderings in search of a guiding principle in art”

Roger Fry (1866–1934) English artist and art critic

Catalogue Preface - Roger Fry ' Retrospective Exhibition, Cooling Galleries, London, February 1931
Art Quotes

Search, Idea, Painting

“Though he loved many innovations in science and devoted his life to introduce useful ones in the arts, he didn't like them in politics and even less in the statutes of the academies”

Henri-Louis Duhamel du Monceau (1700–1782) French naval engineer, botanist and agronomist

Marquis de Condorcet. Tribute to Duhamel du Monceau, April 30, 1783

Love, Life, Science

“Thou art gone from my gaze like a beautiful dream,
And I seek thee in vain by the meadow and stream.”

George Linley (1798–1865) British writer

Thou art gone, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Beauty, Dreams

“Genius is supposed to be a power of producing excellencies, which are out of the reach of the rules of art; a power which no precepts can teach, and which no industry can acquire.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 6
Discourses on Art

“Pythagoras said that medicine is the most godlike of arts. But if the most godlike, it should tend to the soul as well as the body, or else a living thing must be unhealthy, being diseased in its higher part.”

Apollonius of Tyana (15–100) Ancient Greek philosopher

to Crito, Epp. Apoll. 23
Letters

Disease, Soul, Parting

“Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66

Way, Tree, Painting, Falseness

“I chose the title of the book from Oliver Wendel Holme’s subtitle to his Aristocrat of the Breakfast Table; Every man His own Boswell. I was a miscellanist before I attempted a full length book. I learnt the art of narration from Boswell. After all even Macaulay, in spite of many hard things he said of Boswell, did acknowledge that he was the first of biographers and the world has since considered him the greatest.”

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

Source: Law in the Scientific Era, P.vii.

Books, World

“Maybe art couldn’t survive it if was sponsored by the government. Maybe art always had to be subversive.”

Lisa Goldstein book A Mask for the General

Source: A Mask for the General (1987), Chapter 10 (p. 184)

“For me, life would be worthless if there was not modern art and if I did not had the opportunity to express myself in it anyhow, now that I have gradually found the way I can express myself.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Voor mij zou het leven waardeloos zijn als er niet de moderne kunst was en als ik niet de mogelijkheid had om me daarin te uiten op welke manier dan ook, nu ik de wijze waarop ik mij kan uiten langzamerhand heb gevonden.
Quote of Werkman in his letter to August Henkels, June 1942, as cited by Doeke Sijens in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 64
1940's

Life, Way

“A good film is one that requires the viewer to create, through an orchestration of impressions, the meaning of its events. It is, in the end, our ability to create meaning out of the raw experience of life that makes us human. It is the exercise of our faculty to discover meaning which is the purpose of art. The didactic imparting of moral or political messages is emphatically not the purpose of art -- that is what we call propaganda.”

Peter Chung (1961) Korean-American animator

The State of Visual Narrative In Film And Comics http://www.awn.com/mag/issue3.4/3.4pages/3.4chung.html

Life, Exercises

“Mathematics is one of the essential emanations of the human spirit, a thing to be valued in and for itself, like art or poetry.”

Oswald Veblen (1880–1960) American mathematician

Bulletin of the American Mathematical Society, Volume 30 (1924), p. 289.

Mathematics

“The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.”

Hans Hofmann (1880–1966) American artist

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

Music, Search, Training

“The pursuit of perfection in art must always be a noble duty to the artist, but... Here [at the Drachenfels ] he feels, more than in any other place, too vividly his inability... Stop it, painter! Just please yourself with the impression it makes on your soul; try, if you can, to keep this impression pure, it will teach you how to create …”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Het streven naar volmaaktheid in den kunst moet den kunstenaar steeds een edelen pligt zijn, maar hier.. .Hier [bij de Drachenfels] gevoelt hij, meer dan op eenige andere plek, te levendig zijn onvermogen.. .Laat af, schilder! Vergenoeg u met den indruk dien het op uwe ziel maak; tracht, zo ge kunt, dezen rein te bewaren, het zal u leren scheppen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 121

Feeling, Soul, Perfection

“One thing, however, did become clear to him [Goldmund] – why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing – mystery. That was what dreams and truly great works of art had in common: mystery.”

Hermann Hesse book Narcissus and Goldmund

Narcissus and Goldmund (1930)

Hate, Beauty, Dreams, Disappointment

“Only party hacks and the ambitious, the Henry's of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793... What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies.”

Edouard Manet (1832–1883) French painter

Letter to Félix Bracquemond (21 March 1871), published in Manet by Himself (1995) by Julliet Wilson-Bareau
1850 - 1875

World, Communication

“The art of letters will come to an end before A. D. 2000. I shall survive as a curiosity.”

Ezra Pound (1885–1972) American Imagist poet and critic

Quoted in A Serious Character (1988) by Humphrey Carpenter

“It appears to me, that any explanation of the cheapness of manufactured articles, as consequent upon the division of labour, would be incomplete if the following principle were omitted to be stated.
That the master manufacturer, by dividing the work to be executed into different processes, each requiring different degrees of skill or of force, can purchase exactly that precise quantity of both which is necessary for each process; whereas, if the whole work were executed by one workman, that person must possess sufficient skill to perform the most difficult, and sufficient strength to execute the most laborious, of the operations into which the art is divided.”

Charles Babbage On the Economy of Machinery and Manufactures

Source: On the Economy of Machinery and Manufactures, 1832/1841, p. 175-6

Appearance, Personality

“For astronomy is not only pleasant, but also very useful to be known: it cannot be denied that this art unfolds the admirable wisdom of God.”

John Calvin (1509–1564) French Protestant reformer

Commentary on the Book of Genesis. Chapter I http://www.iclnet.org/pub/resources/text/ipb-e/epl-01/cvgn1-03.txt. Genesis (1554)

Wisdom, God

“In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn't the revolutionary's work become official, once the State takes it over?”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1890s - 1910s, The Writings of a Savage (1996), p. 107: in his letter, published in Le Soir, (25 April 1895)

People

“We may compare this sum of the life forces, which we call heredity, to the character of a sensitive plate in the camera. Outside pictures impress themselves more or less distinctly on the sensitive plate… Stored within heredity are all joys, sorrows, loves, hates, music, art, temples, palaces, pyramids, hovels, kings, queens, paupers, bards, prophets and philosophers, oceans, caves, volcanoes, floods, earthquakes, wars, triumphs, defeats, reverence, courage, wisdom, virtue, love and beauty, time, space, and all the mysteries of the universe. The appropriate environments will bring out and intensify all these general human hereditary experiences and quicken them again into life and action, thus modifying for good or evil, character—heredity—destiny.”

Luther Burbank (1849–1926) American botanist, horticulturist and pioneer in agricultural science

p, 125
The Training of the Human Plant (1907)

Love, Life, Wisdom, Hate

“For it is a plain fact that, most certainly in the West, the writings, works of art, musical compositions which are of central reference, comport that which is "grave and constant" (Joyce's epithets) in the mystery of our condition.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), III: Presences, Ch. 6 (p. 224).

Music

“If you saw the first painted color-studies that I made when I came here to Nuenen [1883] - and the present canvas [1885] - side by side - I think you'd see that as far as colour is concerned - things have livened up. I think that the question of the breaking of colours in the relationships of the colours will occupy you too one day. For as an art expert and critic, one must also, it seems to me - be sure of one's ground and have certain convictions. At least for one's own pleasure and to be able to give reasons, and at the same time one must be able to explain it in a few words to others, who sometimes turn to someone like you for enlightenment when they want to know something more about art.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to Theo, from Amsterdam, 30 April 1885, http://vangoghletters.org/vg/letters/let497/letter.html Vincent refers to his famous painting Eaters' https://upload.wikimedia.org/wikipedia/commons/1/12/Vincent_van_Gogh_-_The_potato_eaters_-_Google_Art_Project.jpg'Potato 1880s, 1885

Pleasure, Color, Question, Thinking

“Of this fair volume which we World do name
If we the sheets and leaves could turn with care,
Of him who it corrects, and did it frame,
We clear might read the art and wisdom rare.”

William Drummond of Hawthornden (1585–1649) British writer

Human Folly http://www.bartleby.com/40/196.html

Wisdom, World, Reading

“Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1962; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 1960's

Truth, Parting

“[The art of the novel] does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.”

Murasaki Shikibu book The Tale of Genji

Source: Tale of Genji, The Tale of Genji, trans. Arthur Waley, Ch. 25: The Glow-Worm

Men, Passion, Heart, Personality

“Art is what is irresistible.”

William Saroyan (1908–1981) American writer

Statement to William Bolcom, quoted in "The End of the Mannerist Century" (2004) by William Bolcom, in The Pleasure of Modernist Music edited by Arved Ashby ISBN 1580461433

“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

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

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930

Way, Feeling, Nature, Appearance

“In a nation that has developed to a high art advertising, the creator who refuses to advertise himself is immediately suspected of having no product worth selling.”

Gore Vidal (1925–2012) American writer

"William Dean Howells" (1983)
1980s, At Home (1988)

“Unlike philosophy, art does not search for islands of security from which other experiences can be expelled as fantastic or imaginary, or rejected as a world of secondary qualities or enjoyment, of pleasure or common sense. Art radicalizes the difference between the real and the merely possible in order to show through works of its own that even in the realm of possibility there is order after all. Art opposes, to use a Hegelian formulation, “the prose of the world,” but for precisely this reason it needs this contrast.”

Niklas Luhmann (1927–1998) German sociologist, administration expert, and social systems theorist

Source: Art As a Social System (2000), p. 146 as cited in: Astonishment And Recognition http://unrealnature.wordpress.com/2012/01/26/astonishment-and-recognition/ on unrealnature.wordpress.com, January 26, 2012.

Pleasure, World, Search, Sense

“A museum that really wants to promote modern art might give the artist a guaranty, on certain conditions, so that he can get on with his life and his creations. Or do you believe that the museum is more interested in the artist's death, in order to see the price of his paintings go up?”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 45 : in a letter (11 November 1940) to Käthe Steinitz, sent from the internment camp on Isle of Man, England.

Life, Death, Painting