Quotes about art
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“Lead your child by the hand to the great scenes of nature; teach him on the mountain and in the valley. There he will listen better to your teaching; the liberty will give him greater force to surmount difficulties. But in these hours of liberty it should be nature that teaches rather than you. Do not allow yourself to prevail for the pleasure of success in your teaching; or to desire in the least to proceed when nature diverts him; do not take away in the least the pleasure which she offers him. Let him completely realize that it is nature that teaches, and that you, with your art, do nothing more than walk quietly at her side. When he hears a bird warble or an insect hum on a leaf, then cease your talk; the bird and the insect are teaching; your business is then to be silent.”

Johann Heinrich Pestalozzi (1746–1827) Swiss pedagogue and educational reformer

Diary entry (1774-02-15)

Pleasure, Mountain, Business, Nature

“Tis the first art of kings, the power to suffer hate.”
ars prima regni est posse invidiam pati.

Seneca the Younger Hercules Furens

Hercules Furens (The Madness of Hercules), lines 353; (Lycus)
Alternate translation: To be able to endure odium is the first art to be learned by those who aspire to power (translator unknown).
Tragedies

Hate, Suffering

“People who talk of the spread of music in England and the increasing love of it, rarely seem to know where the growth of the art is really strong and properly fostered: some day the press will awake to the fact, already known abroad and to some few of us in England, that the living centre of music in Great Britain is not London, but somewhere further North.”

Edward Elgar (1857–1934) English composer

Letter to Canon Gorton, organizer of the Morecambe Music Festival, published in The Musical Times, July 1903.

Love, People, Music, Strong

“Each one of these bodies [art-works which Arp made] certainly signifies something, but it is only once there is nothing left for me to change that I begin to look for its meaning, that I give it a name.”

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

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 383

Change

“In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters…. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 40, note 16

World

“.. the wind of 'art brut' blows on writing as well as on other avenues of artistic creation.”

Jean Dubuffet (1901–1985) sculptor from France

Quote in the text of Jean Dubuffet, 'Project pour un petit texte liminaire introduisant les publications de 'L'art brut dans l'écrire', 1969 (1969), published in Le Langage de la rupture', Paris: Presses Universitaires de France, 1978
1960-70's

“The appreciation of the merits of art (of the emotions it conveys) depends upon an understanding of the meaning of life, what is seen as good and evil. Good and evil are defined by religions.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

Life, Religion, Understanding, Evil

“As for the piano, I was left to my own devices practically from the age of twelve. As is frequently the case in teachers' families, our parents were so busy with their pupils (literally from morning until late at night) that they hardly had any time for their own children. And that, in spite of the fact that with the favourable prejudice common to all parents, they had a very high opinion of my gifts. (I myself had a much more sober attitude. I was always aware of a great many faults although at times I felt that I had in me something "not quite usual".) But I won't speak of this. As a pianist, I am known. My good and bad points are known and nobody can be interested in my "prehistoric period". I will only say that because of this early "independence" I did a lot of silly things which I could have easily avoided if I had been under the vigilant eye of an experienced and intelligent teacher for another three or four years. I lacked what is known as a "school". I lacked discipline. But it is an ill wind that blows nobody any good; my enforced independence compelled me, though sometimes by very devious ways, to achieve a great deal on my own and even my failures and errors subsequently proved more than once to be useful and educational, and in an occupation such as learning to master an art, where if not all, then almost all depends on individuality, the only sound foundation will always be the knowledge gained as the result of personal effort and personal experience.”

Heinrich Neuhaus (1888–1964) Soviet musician

The Art of Piano Playing (1958), Ch. 1. The Artistic Image of a Musical Composition

Children, Age, Education, School

“To me programming is more than an important practical art. It is also a gigantic undertaking in the foundations of knowledge.”

Grace Hopper (1906–1992) American computer scientist and United States Navy officer

David Sayre, while in a panel discussion with Hopper, as quoted in Management and the Computer of the Future (1962) by Sloan School of Management, p. 277
Misattributed

Knowledge

“There isn't one specific way of teaching. It varies with each student and his/her ability to grasp what is being imparted. Every student has a different purpose for learning. Some think they will get a chance to perform if they learn from a senior musician. Some even ask me to recommend them to sabhas. But I don't. I firmly believe that opportunities should come on their own. But rarely do we get students who are only interested in learning and expect nothing else. One should be passionate about the art if one is to scale heights.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

Source: Interview by Prince Rama Varma "There's no one way to teach".

Way, Thinking, Learning, Passion

“Cartoons are ridicule and satire by definition. A negative attitude is the nature of the art.”

Paul Conrad (1924–2010) German theologian

As cited in Lordan, Edward J. (2006). Politics, Ink: How America's Cartoonists Skewer Politicians, from King George III to George Dubya. Rowman & Littlefield. p. 135.

Nature

“To will a new form is inacceptable, because will builds distortion. Desire too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else – a condition somewhat unclear, but which in retrospect becomes a very precise act. This 'thing' is recognized only as it comes into existence. It resists analysis - and probably this is as it should be. Possibly the moral is that art cannot and should not be made.”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

Way

“A person, who had not mastered the art of the proofs in high school, is as a rule unable to distinguish correct reasoning from that which is misleading. Such people can be easily manipulated by the irresponsible politicians.”

Vladimir I. Arnold (1937–2010) Russian mathematician

"The antiscientifical revolution and mathematics" (1998, Vatican).

People, School, Personality

“Once upon a time men resisted the implications of actuality. That day is gone. We know now that art is the thing itself together with its extensions into superfluity. Not pop art, I hasten to say, which sneers and exaggerates. This is popular art, which simply exists. This is the age in which we unconditionally accept the unacceptable, and thus proclaim the naturalness of our artificiality.”

Robert Sheckley book Dimension of Miracles

Source: Dimension of Miracles (1968), Chapter 28 (p. 187)

Men, Age, Nature, Time

“The people itself ( and I do not mean the 'masses') has always given art its essential style. The artist merely clarifies and fullfils the will of the people. But when the people does not know what it wants, or worst of all, wants nothing.... then its artists, driven to seeking their own forms, remain isolated, and become martyrs... Folk art – that is, the feeling of people for artistic form – can arise again only when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the memory of generations.”

Franz Marc (1880–1916) German painter

Max Beckmann's opinion on this issue you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446

People, Feeling, Memory

“Sound unbound by nature becomes bounded by art.”

Dejan Stojanovic (1959) poet, writer, and businessman

Dancing of Sounds http://www.poetrysoup.com/famous/poem/21378/Dancing_of_Sounds” From the poems written in English

Nature

“Brother, the Great Spirit has made us all, but He has made a great difference between His white and His red children. He has given us different complexions and different customs. To you He has given the arts. To these He has not opened our eyes. We know these things to be true. Since He has made so great a difference between us in other things, why may we not conclude that He has given us a different religion according to our understanding? The Great Spirit does right. He knows what is best for His children; we are satisfied. Brother, we do not wish to destroy your religion or take it from you. We only want to enjoy our own. … Brother, we are told that you have been preaching to the white people in this place. These people are our neighbors. We are acquainted with them. We will wait a little while and see what effect your preaching has upon them. If we find it does them good, makes them honest, and less disposed to cheat Indians, we will then consider again of what you have said.
Brother, you have now heard our answer to your talk, and this is all we have to say at present. As we are going to part, we will come and take you by the hand, and hope the Great Spirit will protect you on your journey and return you safe to your friends.”

Red Jacket

Quoted from The World’s Famous Orations, Vol. VIII., Red Jacket on the Religion of the White Man and the Red https://www.bartleby.com/268/8/3.html, Speech delivered at a council of chiefs of the Six Nations in the summer of 1805 after Mr. Cram, a missionary, had spoken of the work he proposed to do among them.

Children, People, Religion, Hope

“Voices in the dark
And the lights burn low
Teach yourself the art
That you never know
Try to put a message through
To your sweetheart
Won't you like to know
The secrets of the heart?”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Discovery (1984)

Secret, Light, Heart

“In grade school they say you have to pick a profession and stick to it… and people stop looking at their lives as a work in progress. If you don't stay in touch with yourself, you kind of lose focus. If you're going to spend a life in the arts, you need to be infused with a sense of gratitude and a sense of wonder. It's a privilege to do this profession. But there is a payment you have to make for that privilege, which is to do your best all the time.”

Ethan Hawke (1970) American actor and writer

Los Angeles Times http://www.latimes.com/entertainment/news/la-et-hawke7-2010jan07,0,7915056.story (2010-01-07) 2010&ndash;present

Life, People, School, Sense

“So long as we have government by party, the very notion of repose must be foreign to English politics. Agitation is, so to speak, endowed in this country. There is a standing machinery for producing it. There are rewards which can only be obtained by men who excite the public mind, and devise means of persuading one set of persons that they are deeply injured by another. The production of cries is encouraged by a heavy bounty. The invention and exasperation of controversies lead those who are successful in such arts to place, and honour, and power. Therefore, politicians will always select the most irritating cries, and will raise the most exasperating controversies the circumstances will permit.”

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury (1830–1903) British politician

Quarterly Review, 131, 1873, p. 578
1870s

Men, Success, Personality, Country

“What is man, when you come to think upon him, but a minutely set, ingenious machine for turning, with infinite artfulness, the red wine of Shiraz into urine?”

Karen Blixen book Seven Gothic Tales

"The Dreamers"
Seven Gothic Tales (1934)

Thinking, Wine

“One must not always think that feeling is everything. Art is nothing without form.”

Gustave Flaubert (1821–1880) French writer (1821–1880)

12 August 1846
Correspondence, Letters to Madame Louise Colet

Feeling, Thinking

“.. In spite of everything, there is still no more wonderful vocation than to continue to tolerate events and to work on in the name of our mission, in the name of that spirit which lives on in our teaching and in our vision of humanity and art, the spirit which can lead us Jews down the true and just path. But along the way, peoples will spill our blood, and that of others.”

Marc Chagall (1887–1985) French artist and painter

In the last lines of his lecture at the Congress of the Jewish Scientific Institute Vilnius, in 1935, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 58
after 1930

People, Way

“In Etruria.. the nation stagnated and decayed in political helplessness and indolent opulence, a theological monopoly in the hands of the nobility, stupid fatalism, wild and meaningless mysticism, the arts of soothsaying and mendicant priestcraft gradually developed themselves, till they reached the height at which we afterwards find them.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 1, Book II, Chapter 8. "Law. Religion. Military System. Economic Condition. Nationality"
The History of Rome - Volume 1

Stupidity

“Jesus is too colossal for the pen of phrasemongers, however artful. No man can dispose of Christianity with a bon mot.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

1920s, Viereck interview (1929)

“We humans who art on Earth, humanity is special, our kingdom has come. Do what we innately know to be right, on Earth because that's all there is. Share the bread we have, try not to screw up. When others screw up, understand. We can't have everything that tempts us (Unless we work in international finance). Deliver ourselves from evil because this is it. The Earth, the power to do right, and the glory that will come if we do is ours, now and forever. Hu-man.”

Marcus Brigstocke (1973) comedian

The Now Show

Understanding, Evil

“The intensity with which a subject is grasped (still life's, portraits, or creations of the imagination) – that is what makes for beauty in art.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

Life, Beauty, Imagination

“The only quality that endures in art is a personal vision of the world. Methods are transient: personality is enduring.”

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

1941 - 1967
Source: 'statement by the Chairman of the Jury', Corcoran Gallery of Art, Washington D.C. 1951, p. 7

World, Personality

“These things [cutting, cropping and shaping] always happen in strange ways. You can say after the fact what you're doing, but, believe me, you can't project it ahead. It has to be worked through before you can recognize what it was that you were looking for. It's a search; it's not like getting a brainstorm... It's work, yes; it comes out of the practice of painting, the practice of your art.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Way, Search, Painting

“Our National life is full of diversities. We have here a variety of languages, of faiths, of communities, of modes of living, and schools and styles of literature and art. This diversity reflects the abundance of our national life, and need to be preserved and promoted.”

Atal Bihari Vajpayee (1924–2018) 10th Prime Minister of India

Bharatiya Pratinidhi Sabha Session, Indore – September, 7-8, 1968
Quotes from ataljee.org

Life, School, Faith, Communication

“Maybe the years I spent playing the piano in taverns in Chicago and elsewhere led me to believe that the people who did that mundane work were as important to an understanding of art as the better-known players who produced the recognized classics of jazz. Growing up … may have led me to think that the craftsman who help make art works areas important as the people who conceive them… Learning the "Chicago tradition" of sociology from Everett C. Hughes and Herbert Blumer surely led to a skepticism about conventional definitions of the objects of sociological study.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. ix.

People, Understanding, Thinking, Study

“Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16]... If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich denke immer viel über die Kunstschule nach [ die Walden seit 1915/16 anfangen möchte].. .Wenn unser Streben wirklich in der Zukunft grosse Fortschritte machen soll, muss die Kunstschule Individualitäten hervorbringen, die durch uns wirklich vo inneren heraus weiter können und anfangen zu schaffen, ohne immer Bilder von anderen zu sehen.
Quote in a letter of Jacoba van Heemskerck to Herwarth Walden in Berlin, 15 August 1917; as cited in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, pp. 15-16
1910's

School, Thinking, Study, Future

“Aesthetic:
Art is Harmony.
Harmony is the analogy of opposites, the analogy of similarities of tone, of tint, of line taking account of a dominant and under the influence of the lighting, in combinations that are gay calm or sad.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

Sadness, Light

“Only the poor can create art.”

Andrei Codrescu (1946) American writer

From a public forum http://fora.tv/2009/04/28/The_Posthuman_Dada_Guide_Tzara_and_Lenin_Play_Chess held at the Los Angeles Public Library, 28 April 2010.

“What mathematics, therefore are expected to do for the advanced student at the university, Arithmetic, if taught demonstratively, is capable of doing for the children even of the humblest school. It furnishes training in reasoning, and particularly in deductive reasoning. It is a discipline in closeness and continuity of thought. It reveals the nature of fallacies, and refuses to avail itself of unverified assumptions. It is the one department of school-study in which the sceptical and inquisitive spirit has the most legitimate scope; in which authority goes for nothing. In other departments of instruction you have a right to ask for the scholar’s confidence, and to expect many things to be received on your testimony with the understanding that they will be explained and verified afterwards. But here you are justified in saying to your pupil “Believe nothing which you cannot understand. Take nothing for granted.” In short, the proper office of arithmetic is to serve as elementary 268 training in logic. All through your work as teachers you will bear in mind the fundamental difference between knowing and thinking; and will feel how much more important relatively to the health of the intellectual life the habit of thinking is than the power of knowing, or even facility of achieving visible results. But here this principle has special significance. It is by Arithmetic more than by any other subject in the school course that the art of thinking—consecutively, closely, logically—can be effectually taught.”

Joshua Girling Fitch (1824–1903) British educationalist

Source: Lectures on Teaching, (1906), pp. 292-293.

Life, Children, Health, School

“I met Sophie Taeuber in Zurich in 1915. Even then she already knew how to give direct and palpable shape to her inner reality. In those days this kind of art was called 'abstract art'. Now it is known as 'concrete art,' for nothing is more concrete than the psychic reality it expresses. Like music this art is tangible inner reality she was already dividing the surface of a watercolor into squares and rectangles which she juxtaposed horizontally and perpendicularly. She constructed her painting like a work of masonry. The colors are luminous, going from rawest yellow to deep red or…. blue.”

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

Arp's quote on his wife, in 'Sophie Taeuber-Arp', Hans Arp; in Arp on Arp: Poems, Essays, Memories, ed. Marcel Jean, transl. Joachim Neugroschel; Viking Press, New York 1972, p. 222
1910-20s

Music, Color, Reality, Painting

“Greatness in art is always a by-product.”

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

Source: Art on the Edge, (1975), p. 231, "Shall These Bones Live?: Art Movement Ghosts"

“It was during the first years [1906-1910] that we [the Futurist artists] realized the presence of a dualism deep down within us, where another person, whom we ourselves do not know, tends, at the moment of the creative act, to supplant the person we believe ourselves to be and would like to be. It is difficult to bring these two individualities into accord, yet it is upon this accord that the development of a personality largely depends. My first contact with the art of Seurat whom I adopted, once and for all, as my master, did a great deal to help me to express myself in terms of the two simultaneous and often opposed aspirations. This opposition caused me much mental torture, I must admit..”

Gino Severini (1883–1966) Italian painter

In an interview, 1956; as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 247

Help, Dependency, Personality

“.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world”

Giorgio Morandi (1890–1964) Italian painter

as in Surrealism or in 'Pittura Metafisica' of De Chirico
Source: 1945 - 1964, Interview, 1960, pp. 106-107

Life, World, Flowers, Painting

“It is harder to see than it is to express. The whole value of art rests in the artist's ability to see well into what is before him.”

Robert Henri (1865–1929) American painter

citation needed

“The resume was a work of art. It listed jobs she had never held at health clubs that never existed, promotions that had never happened, professional memberships in nonexistent organizations, awards she had never received, and a fake degree. Accompanying it were letters of recommendation she had written herself.”

Lis Wiehl (1961) American legal scholar

Source: Heart of Ice A Triple Threat Novel with April Henry (Thomas Nelson), pp. 39, 40

Health

“The cosmos which he now created was that which contains the readers and the writer of this book. In its making he used, but with more cunning art, many of the principles which had already served him in earlier creations; and he wove them together to form a more subtle and more capricious unity than ever before.”

Olaf Stapledon book Star Maker

Source: Star Maker (1937), Chapter XV: The Maker and His Works; 2. Mature Creating (pp. 176-177)

Books

“3036. As he that doth not eat when he should, may have no Stomach when he is weak, but presently vomits up his Food again; so if thou studiest not the Art of Patience, and preparest not thy mind before-hand, and takest not in Grounds of Consolation, till thou art in Troubles, and hast need of great Comfort, thou wilt find thy Soul very impatient of Remedies, and 'twill be irksome to thee but even to read such Things as should quiet thee.”

Thomas Fuller (writer) (1654–1734) British physician, preacher, and intellectual

Introductio ad prudentiam: Part II (1727)

Food, Soul, Reading, Patience

“No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow — and if it does not do so it is bad art and false morals.”

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

Source: The Nude: A Study in Ideal Form (1951), Ch. 1: The Naked and the Nude

Feeling, Falseness

“The art always wins. Anything can happen to me, but the art will stay.”

Ai Weiwei (1957) Chinese concept artist

“ Ai Weiwei: Artistic Licence http://www.economist.com/node/21554178.” Economist, May 5, 2012. 2010-, 2012

“In this time of the great struggle for a new art we fight like disorganized 'savages' against an old, established power. The battle seems to be unequal, but spiritual matters are never decided by numbers, only by the power of ideas. The dreaded weapons of the 'savages' are their new ideas. New ideas kill better than steel and destroy what was thought to be indestructible.”

Franz Marc (1880–1916) German painter

1911 - 1914, The 'Savages' of Germany' (1912)

Idea, Time, Fight

“Debate is an art form. It is about the winning of arguments. It is not about the discovery of truth. There are certain rules and procedures to debate that really have nothing to do with establishing fact—which creationists have mastered. Some of those rules are: never say anything positive about your own position because it can be attacked, but chip away at what appear to be the weaknesses in your opponent's position. They are good at that. I don't think I could beat the creationists at debate. I can tie them. But in courtrooms they are terrible, because in courtrooms you cannot give speeches. In a courtroom you have to answer direct questions about the positive status of your belief. We destroyed them in Arkansas. On the second day of the two-week trial we had our victory party!”

Stephen Jay Gould (1941–2002) American evolutionary biologist

After the McLean v. Arkansas creationism trial, as quoted in Review of the National Center for Science Education Vol. 24, No. 6 (November–December 2004) http://www.ncseweb.org/resources/rncse_content/vol24/620_then_a_miracle_occurs_12_30_1899.asp

Truth, Question, Thinking, Appearance

“He also knew when to stop. In the fine art of deceit and personal advancement as in any other calling this is the hallmark of the master.”

Mervyn Peake book Titus Groan

Source: Titus Groan (1946), Chapter 31 “Reintroducing the Twins” (p. 173)

Personality

“It is not that I feel less weak, but Thou
Wilt be my strength. It is not that I see
Less sin, but more of pardoning love in Thee,
And all-sufficient grace. Enough! And now
All fluttering thought is stilled; I only rest,
And feel that Thou art near, and know that I am blest.”

Frances Ridley Havergal (1836–1879) British poet and hymn-writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 447.

Love, Feeling

“The classical Greek philosophers, Aristotle and Plato, established some important systems ideas. Aristotle reasoned that the parts of the body only make sense in terms of the way they function to support the whole organism and used this biological analogy to consider how individuals need to be related to the State. Plato was interested in how the notion of control, or the art of steersmanship (kybernetes), could be applied both to vessels and the State. Ships had to be steered safely toward harbour by a helmsman. A similar role needed to be followed in societies if they were to prosper.”

Mike Jackson (1951) systems scientist

Source: Systems Thinking: Creative Holism for Managers (2003), p. 4

Way, Idea, Support, Sense

“I dread the pictures of my dreams,
For, then I gaze on thee;
And thou art near, and thou art all
That I would have thee be.
And then I startle from my sleep,
And know all false, and watch and weep.”

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

(10th April 1824) Love in Absence
The London Literary Gazette, 1824

Dreams, Sleep, Falseness

“No one knows what it feels like to be constantly insulted [by art-critics in Paris]. It sickens and destroys you... The fools! They've never stopped telling me I'm inconsistent [in his painting style]; they couldn't have said anything more flattering.”

Edouard Manet (1832–1883) French painter

quote of Manet, recorded by his friend Antonin Proust in his last years, Manet by Himself, p. 304, as quoted in The private lives of the Impressionists, Sue Roe; Harpen Collins Publishers, New York 2006, p. 241
1876 - 1883

Fools, Feeling, Painting

“The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian … and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music … a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.”

Peter Greenaway (1942) British film director

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

Music, Thinking, Dead

“In a country where feeling for art is not one of the national characteristics, it is particularly difficult to arrive at a common understanding of the term "art". There are many obstacles in the way, and some of them are imposed by the mere existence of such a body as the Royal Academy, for lacking any intuition in this matter of art, the majority of people turn to that institution for guidance, and naturally assume that any work receiving its blessing must be a work of art in the strict meaning of the word, and consequently the artistic quality of a painting is, in the popular estimation, measured in ratio to its degree of photographic realism.”

James Bolivar Manson (1879–1945) British artist

Manson, J.B. The Tate Gallery, p. 8, Thomas Nelson and Sons.

People, Way, Feeling, Understanding

“In the beginning I tried to accommodate everything there that was somewhere between art and garbage and that somehow seemed important to me and a pity to throw away. After a while, some sheets in the Atlas acquired another value, after all – that is, it seemed to me that they could stand on their own terms, not only under the protection of the Atlas.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of an interview with Dieter Schwarz, 1999; as cited on collected quotes on the website of Gerhard Richter: 'on Atlas' https://www.gerhard-richter.com/en/quotes/atlas-4 1990's

“It is known to all persons who are conversant in experimental philosophy, that there are many little attentions and precautions necessary to be observed in the conducting of experiments, which cannot well be described in words, but which it is needless to describe, since practice will necessarily suggest them; though, like all other arts in which the hands and fingers are made use of, it is only much practice that can enable a person to go through complex experiments, of this or any kind, with ease and readiness.”

Joseph Priestley (1733–1804) English theologian, chemist, educator, and political theorist

Experiments and Observations of Different Kinds of Air (1775)

Personality

“I know there's been some debate about the DVD art. Just remember it's what's INside that counts, as I used to remind girls in high school constantly. CONSTANTLY — until I realized that I was empty inside. Empty and homely. Man, that's a rough combo.”

Joss Whedon (1964) American director, writer, and producer for television and film

"Joss to never learn how to work site! Man is complete Melvin! Mock him!" at Whedonesque.com (9 November 2005)

School, Home, Girl

“Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.
In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history.
I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

History, Waiting

“Symbolic impoverishment ceases to be a problem precisely because the rich have found functional equivalents for a system of compelling moral demands, in analysis and art, which may be said to be a mode of self-reverence.”

Philip Rieff (1922–2006) American sociologist

The Triumph of the Therapeutic (1966)

Problem

“Martial arts training's given me a foundation for conditioning, flexibility, patience, focus, dedication. And those carry over to my basketball career. Off the court, I'm more focused, patient, and understanding.”

Robert Parish (1953) American basketball player

"One-on-One with Robert Parish" https://web.archive.org/web/19990508215339/http://www.nba.com/history/parish_chat_060396.html, NBA.com (1998).

Understanding, Training, Patience

“The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.”

Clement Greenberg (1909–1994) American writer and artist

"T.S. Eliot: A Book Review" (1950/1956), p. 244
1960s, Art and Culture: Critical Essays, (1961)

Literature, Success, Parting, Dependency

“This latest skirmish in the high art/low art war has played out most fiercely over Mr. Tidwell, who shocked balletomanes when he left American Ballet Theater in 2005, then added insult to injury by joining the third season of “So You Think You Can Dance.””

Danny Tidwell (1984) American dancer

The New York Times La Rocco Claudia. "TV Viewers Discover Dance, and the Debate Is Joined" http://www.nytimes.com/2007/09/21/arts/dance/21revo.html?ref=dance#, The New York Times, September 21, 2007 About

War, Thinking, Dance, Season

“The persons who are interested in the life of ancient polymaths, devote their life to learn and innovate in sciences, arts, and the transfer of their knowledge to the Iranians and the other nations.”

Taraneh Javanbakht (1974) Iranian scientist, faculty, poet, translator, playwright and writer

Source: Gooyanews website, 2010 http://news.gooya.com/politics/archives/2010/03/102134.php

Life, Knowledge, Learning, Science

“In discussing his work [the art of Marcel Duchamp, ] it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important… I would say that even the bourgeois tendencies in Duchamp's work – i. e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers… The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters…. but to my mind, the images which emerged have a repressive effect.”

Joseph Beuys (1921–1986) German visual artist

Quote in an interview with , 1986; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993.pp. 169-170
Beuys refers in his quote to the so-called 'Silence of Marcel Duchamp', the period that Duchamp stopped creating art
1980's

Behavior, Idea, Reality, Fish

“Forensic procedure is an art form, nothing less. No, I'll go further: it's higher, more refined, than any art form. Why? Because it's real. Take just one aspect of it—say the diagrams: with all their outlines, arrows and shaded blocks they look like abstract paintings, avant-garde ones from the last century—dances of shapes and flows as delicate and skilful as the markings on butterflies' wings. But they're not abstract at all. They're records of atrocities. Each line, each figure, every angle—the ink itself vibrates with an almost intolerable violence, darkly screaming from the silence of white paper: something has happened here, someone has died.”

Tom McCarthy (writer) book Déjà vu

Source: Remainder (2005), Ch. 11.

Silence, Dance, Painting

“Everybody's going crazy over the Impressionists; what art needs is a Poussin made over according to nature. There you have it in a nutshell.”

Paul Cézanne (1839–1906) French painter

Quote from a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 67
Quotes of Paul Cezanne, 1880s - 1890s

Nature

“Human process music using both absolute and relational processing… we attend to the actual pitches and duration we hear in music, as well as their relative values. This dual mode of processing is rare among species… These modes of processing and the brain mechanisms that gave rise to them were necessary for the development of language, music, poetry, and art.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)

Music

“Art doesn't transform. It just plain forms.”

Roy Lichtenstein (1923–1997) American pop artist

Quoted in Jonathon Green, The Macmillan Dictionary of Contemporary Quotations (1996) p. 179
1990's

“One can derive the same fun from print-making as from making mud pies and great subtlety can be achieved through the use of transparent inks, half-tone screens and even accidental colour combinations, which is often where the art hides.”

Ralph Steadman book The Joke's Over

Own Goals, p. 314
The Joke's Over (2006)

“At present, I am particularly excited by 'bad taste'. I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed 'The Work of Art'. I wish to play with human feeling, with its 'morbidity' in a cold and ferocious manner. Only very recently I have become a sort of gravedigger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.”

Yves Klein (1928–1962) French artist

Quote from Klein's 'Chelsea Hotel Manifesto', 1961; from the Yves Klein Archives - archived from the original on 15 January 2013; as cited on Wikipedia: Yves Klein
After the opening of his unsuccesful exhibition at Leo Castelli's Gallery, New York 1961, Klein stayed with Rotraut Uecker (fr) at the Chelsea Hotel for the duration of the exhibition. While there, he wrote the 'Chelsea Hotel Manifesto', a proclamation of the 'multiplicity of new possibilities'
1960 -1964

Way, Feeling, Time, Painting

“That I started [in the creation of his art] from my immediate environment was extremely important to me. Only the things I knew, with which I was familiar, which I had caught on their reality value, I could approach free of extra-pictorial aesthetics and pale romanticism. Of course the question remained how I - who wanted to involve modern life in my art - could continue to seek my inspiration at Machelen-aan-de-Leie, a village in the countryside, far from the city and the crowds. Where can one sense better the infiltration of modern life than in a village in the countryside? In the city everything gets integrated immediately, you can't see clearly the insulating and contrasting-alienating effect of publicity, the gas-station, the concrete, the car, etc. On the other hand, I keep saying that we must continue to see the grass, the corn and the cows. Not within an animistic unity, but from a mentality that has the courage to approach these things freely and ruthless in our era. What ordinary people make out of life is fascinating me.”

Roger Raveel (1921–2013) painter

Dat ik [met het maken van mijn kunst] vertrok uit mijn onmiddellijke omgeving vond ik uiterst belangrijk. Alleen de dingen die ik kende, waarmee ik vertrouwd was, die ik op hun werkelijkheidswaarde had betrapt konden vrij van extra-picturale esthetiek en van bleek romantisme door mij benaderd worden. De vraag bleef natuurlijk hoe ik, die het moderne leven in mijn kunst wou betrekken, mijn inspiratie kon blijven zoeken te Machelen-aan-de-Leie, een dorp op het platteland, ver van de stad en van de drukte. Waar kan men beter het infiltreren van het moderne leven gewaar worden dan in een dorp op het platteland? In de stad wordt alles onmiddellijk geïntegreerd, ziet men niet zo scherp de isolerende en tevens contrasterend-bevreemdende werking van de publiciteit, het benzinestation, het beton, de auto, enz. Aan de andere kant blijf ik ervan overtuigd dat ook het gras, het koren en de koe nog moeten gezien worden. Niet binnen een animistische eenheid, maar wel vanuit een mentaliteit die vrij en meedogenloos deze dingen in ons tijdperk nog zou durven benaderen. Wat de gewone man van het leven maakt, dat boeit mij. Quote of Raveel, 1969, in the text 'In gesprek met mezelf' ('In conversation with myself'), in the exhibition-catalog of his exhibition in 'De Hallen' (museum in Haarlem, The Netherlands; as cited by Ludo Bekkers in 'Roger Raveel en zijn keuze uit het Museum voor Schone Kunsten in Gent' http://www.tento.be/sites/default/files/tijdschrift/pdf/OKV1975/Roger%20Raveel%20en%20zijn%20keuze%20uit%20het%20Museum%20voor%20Schone%20Kunsten%20in%20Gent.pdf, Dutch art-magazine 'Openbaar Kunstbezit', Jan/Maart 1975, p. 3-4 1960's

Life, People, Cars, Courage

“Acting is merely the art of keeping a large number of people from coughing.”

Ralph Richardson (1902–1983) English actor

Ralph Richardson, reported in Ashton Applewhite; Tripp Evans, Andrew Frothingham (2003). And I Quote: The Definitive Collection of Quotes, Sayings, and Jokes for the Contemporary Speechmaker. Macmillan, p. 283. ISBN 0312307446.

People

“The Apollonian and Dionysian, two great western principles, govern sexual personae in life and art. My theory is this: Dionysus is identification, Apollo objectification. Dionysus is the empathic, the sympathetic, emotion transporting us into other people, other palaces, other times. Apollo is the hard, cold separation of western personality and categorical thought. Dionysus is energy, ecstasy, hysteria, promiscuity, emotionalism -- heedless indiscriminateness of idea or practice. Apollo is obsessiveness, voyeurism, idolatry, fascism -- frigidity and aggression of the eye, petrification of objects. … The quarrel between Apollo and Dionysus is the quarrel between the higher cortex and the older limbic and reptilian brains.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 96

Life, People, Idea, Time

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

World, Problem, Thinking, Sense

“Well, When I started my "Invasions," the word "street art" did not even exist yet! Now "Street Art" is a Pivotal moment”

Invader (artist) (1969) French urban artist

"http://www.complex.com/style/2014/07/space-invader-interview"

“.. the characteristic motion peculiar to the object (absolute motion), with the transformations the object undergoes in its shifting in relation to the environment, mobile or immobile (relative motion; both motions should be conceived in art)”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni's quote on motion; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 328.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“The negligence of Nature wide and wild,
Where, undisguised by mimic art, she spreads
Unbounded beauty to the roving eye.”

James Thomson (poet) The Seasons

Source: The Seasons (1726-1730), Spring (1728), l. 71-73.

Beauty, Nature

“When I was council president I had a rule that people could sleep on the job. I modified the rule. You could actually sleep in public if you weren't sitting down. I had three people who actually perfected the art of sleeping while standing.”

John F. Street (1943) American politician

"Actual Excerpts from John Street's Class at Temple" by Tom Namako in Philadelphia Citypaper (27 February 2008) http://www.citypaper.net/articles/2008/02/28/actual-excerpts-from-john-streets-class-at-temple

People, Sleep, Perfection

“This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture.”

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

In the introduction, (written in 1951) of his not published book: "Line Form and Color"; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 22
1950 - 1968

Books, Painting

“Surrealism was a genuine addition to the repertoire of avant-garde arts, its novelty attested by the ability to produce shock, incomprehension, or what amounted to the same thing, a sometimes, embarrassed laughter, even among the older avant-garde.”

Eric Hobsbawm book The Age of Extremes

The Arts 1914-1945
The Age of Extremes (1992)

Laughter

“The Hindus do not pay particular attention to alchemy, but no nation is entirely free from it, and one nation has more bias for it than another, which must not be construed as proving intelligence or ignorance; for we find that many intelligent people are entirely given to alchemy, whilst ignorant people ridicule the art and its adepts.”

Al-Biruni (973–1048) Persian scholar and polymath

Alberuni, quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 1
From Alberuni's India

People, Intelligence

“In a society of employees dominated by the marketing mentality, it is inevitable that a personality market should arise. For in the great shift from manual skills to the art of 'handling', selling and servicing people, personal or even intimate traits of employees are drawn into the sphere of exchange and become commodities in the labor market.”

C. Wright Mills book White Collar: The American Middle Classes

White Collar: The American Middle Classes (1951)

People, Personality

“Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).

Question, Nature, Painting

“My dear Theo, Feeling, even a fine feeling, for the beauties of nature isn't the same as religious feeling, although I believe that the two are closely connected. The same is true of a feeling for art. Don't give in to that too much either. Hold fast especially to your love for the firm [of the Paris' art dealers Goupil & C0, where both brothers worked - Vincent started in 1869 and Theo in 1873] and for your work.... Nearly everyone has a feeling for nature, some more than others, but there are few who feel that God is a spirit, and that they must worship Him in spirit and in truth. Pa is one of the few, Ma too, and also Uncle Vincent, I believe.”

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

quote from his Letter #049 to Theo on 'religious feeling' (Paris, 17 Sept. 1875) http://vangoghletters.org/vg/letters/let049/letter.html 1870s

Love, God, Truth, Beauty

“It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

Music, Time

“Homer is one of the men of genius who solve that fine problem of art — the finest of all, perhaps — truly to depict humanity by the enlargement of man: that is, to generate the real in the ideal.”

Victor Hugo book William Shakespeare

Homère est un des génies qui résolvent ce beau problème de l’art, le plus beau de tous peut-être, la peinture vraie de l’humanité obtenue par le grandissement de l’homme, c’est-à-dire la génération du réel dans l’idéal.
Part I, Book II, Chapter II, Section I
William Shakespeare (1864)

Men, Problem

“Science looks and observes and art see and foresees. Every great scientist has experienced a moment when the artist in him saved the scientist.”

Naum Gabo (1890–1977) Russian sculptor

Naum Gabo (1937) "Editorial", p. 9
1936 - 1977, Circle: International Survey of Constructive Art, 1937

Science

“It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

Faith, Feeling, Idea, Sense

“I’m very skeptical in approaching Bach as a clean slate. To understand Bach, one has to be at home in the whole literature of art and interpretation; one must have great experience in performing the complete literature, from Bach until the early avantgarde. I’m absolutely convinced that only by this deep knowledge one can feel the all-embracing range of effects that are compressed in Bach and his music - and how later generations have been inspired. Only by this experience you can give the Bach interpretation a new balance and tension. In the case of the Goldberg Variations we are confronted with these all-emotional effects, and I’m also skeptical whether this all-embracing range can be touched by much too young players, on harpsichord as well as on piano. Knowing the true worth of this condensed and nearly welded-in polyphonic structure and singular musical architecture, one ultimately knows that it is impossible to play with the variations, meaning to change voices, or make doublings. Then the music itself would be robbed of its true worth and sense, which can only be revealed by bringing out the embedded simplicity, which however is transformed to an electrified, heated atmosphere. One has to respect the internal strength.”

Burkard Schliessmann classical pianist

Talkings on Bach

Music, Feeling, Home, Literature

“[On modern art] True psychos stand alone. The only pioneers are those who give voices to the ugliest corridors of their unconscious without fear of censure from any quarter. The acts that ordinary of people commit behind closed doors are beyond the ken of any performance artist. Humans' innate weirdness is far more threating and entertaining than anything the professional shock mavens could conjure. I boggle your conception of a world split between cognoscenti and squares. I subvert the subversive and bury the underground under six feet of its own hypocritical manure. I perform unsolicited tattooing, body-piercing, and ritual scarification upon you. Give vent to your sickest fantasies, but don't call it art. Cornhole Barbara Bush, but only if you want to. Sketch your astrological chart with your own feces, but only if it feels good. If you want to do something truly radical, kill yourself. We'll have one less reader, but the world will be a better place.”

Jim Goad (1961) Author, publisher

ANSWER Me!

People, World, Fear, Feeling

“Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. … A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.”

John Berger (1926–2017) British painter, writer and art critic

Source: Selected Essays of John Berger (2014), P. 18

People, Pleasure, World, Way

“The ability… to experiment with imaginary situations, gives man a freedom… the pleasure in trying out and exploring imaginary situations. A child's play is concerned with this pleasure; and so is much of art, and much of science… [P]ure science… is a form of play, in this sense.”

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

"The Imaginative Mind in Art" (1978)

Pleasure, Sense, Freedom, Science

“Art to me is a humanitarian act, and I believe that there is a responsibility that art should somehow be able to affect mankind, to make the word a better place”

Jeff Koons (1955) American artist

this is not a cliche!
Constance Lewellen interview, 1986

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

Arshile Gorky (1904–1948) Armenian-American painter

Source: posthumous, Astract Expressionist Painting in America, p. 64, in an unpublished letter of Gorky

Life

“The first step — especially for young people with energy and drive and talent, but not money — the first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.”

Chuck Palahniuk (1962) American novelist, essayist

Closing remarks made on an eClass forum (Barnes & Noble University) (2004-12-05)

Money, People, Books, World

“But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness."”

Robert Morgan (1943) American art historian

This is part of the pity of Modernism, one of the sacrifices it enjoins... Clement Greenberg, Robert C. Morgan in: Clement Greenberg, Late Writings in Detached Observations http://books.google.co.in/books?id=8wFNAAAAYAAJ, University of Minnesota Press, 30 January 2007, p. 70

Parting