Quotes about art
page 25

“The opposition between structure and sonority in music is almost as misleading as that between line and color in the visual arts. Baudelaire insisted, correctly, that Delacroix was one of the three greatest draftsmen of the century, and emphasized his mastery of line. In the same way, a study of Chopin demonstrates the intimate relation between line and color in music.”

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

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

Music, Color, Way, Study

“It is to the director of workshops and factories that it is suitable to make, by means of geometry and applied mechanics, a special study of all the ways to economize the efforts of workers… For a man to be a director of others, manual work has only a secondary importance; it is his intellectual ability (force intellectuelle) that must put him in the top position, and it is in instruction such as that of the Conservatory of the Arts and Professions, that he must develop it.”

Charles Dupin (1784–1873) French mathematician

Charles Dupin (1826), Geometrie et Mechanique des Arts et Metiers et des Beaux Arts Paris: Bachelier; Cited and translated by John Hoaglund, "Management Before Frederick Taylor," p. 30.; and cited in Wren & Bedeian (2005, 74)

Way, Effort, Study

“"Art" is an invention of aesthetics, which in turn is an invention of philosophers…what we call art is a game.”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Alternating Current (1967)

Game

“Individuality of expression is the beginning and end of all art.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Maxim 739, trans. Stopp
Maxims and Reflections (1833)

“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Music, Way, Time, Personality

“At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form... I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti-geometric, anti-logical way. And this way is that of 'dissonance in art', in painting, therefore, just as much as in music. And 'today's' dissonance in painting and music is merely the consonance of 'tomorrow.”

Wassily Kandinsky (1866–1944) Russian painter

Quote in Kandinsky's letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
1910 - 1915

Music, Way, Painting

“If thou art fighting against thy sins, so is God. On thy side is God who made all, and Christ who died for all and the Spirit who alone gives wisdom, purity, and nobleness.”

Charles Kingsley (1819–1875) English clergyman, historian and novelist

Source: Attributed, Dictionary of Burning Words of Brilliant Writers (1895), P. 263.

Wisdom, God, Christ, Fight

“The literary critic, or the critic of any other specific form of artistic expression, may detach himself from the world for as long as the work of art he is contemplating appears to do the same.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Introduction'
Essays and reviews, Glued to the Box (1983)

World, Appearance

“We love the imperfect shapes in nature and in the works of art, look for an intentional error as a sign of the golden key and sincerity found in true mastery.”

Dejan Stojanovic (1959) poet, writer, and businessman

Mastery http://www.poemhunter.com/poem/mastery-2/ From the poems written in English

Love, Error, Nature, Sincerity

“But to-day, mankind believes itself able to do without Art. It does not wish to meditate, to contemplate, to dream; it wishes to enjoy physically. The heights and the depths of truth are indifferent to it; it is content to satisfy its bodily appetites. Mankind to-day is brutish — it is not the stuff of which artists are made.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Preface, p. 8

Truth, Dreams, Indifference

“The reckoning with idealism as a view of life is universal, but it also touches on something central in art-its life's substance. One must understand that it is impossible to distinguish between a picture’s form and its substance. As the flower's structure is governed by the intentional tension (when it loses the sap the form is lost), so also with art the substance creates the tension. Form and substance are one and the same. Form is the life expression and substance the living painting.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Life, Flowers, Understanding, Universe

“If you say Ram Ram Ram and Allah Allah Allah, you will get confused. So one god is enough. For me Bindu has never done the same thing. There is logic in every abstract form that I make. My work is like poetry and it should create a different atmosphere for the visitor. Poetry, literaturea and art seem simple but it is very difficult to understand it.”

S. H. Raza (1922–2016) Indian artist

Indian contemporary artists have not reached my standard: SH Raza

God, Understanding

“The failure of women to produce great works of art and all that can be explained in terms of this statement. Insofar as she escapes or rejects her conditioning, the little girl may excel in those kinds of intellectual activity that are called creative, but eventually she either capitulates to her conditioning, or the conflicts become so pressing that her efficiency is hampered.”

Germaine Greer book The Female Eunuch

The Raw Material
The Female Eunuch (1970)

Women, Girl, Failure

“The painted, engraved, and carved images of prehistory are threads from past cultures, and we are foreigners trying to interpret their meaning. Perhaps more than anything else, art can be fully understood only in the context of the culture that produced it.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Past, Painting

“Conceptual Art is a sounding instrument between printed words, luminous writings, and letters scrawled in a hasty nervous instinctive calligraphy.”

Mario Merz (1925–2003) Italian artist, painter and sculptor

Quoted in Kristine Stiles & Peter Howard Selz: Theories and documents of contemporary art (1996), p. 671

“Dada is a farce, a legend, a state of myth. A badly behaved myth whose subterranean survival and capricious manifestation upset everyone... The aesthetic of absolute negativity has been changed into methodical doubt, thanks to which it will finally be able to incarnate new signs... After the NO and the ZERO, there is a third position for the myth; the anti-art gesture of Marcel Duchamp has been charged with positive energy. The Dada spirit identifies itself with a method of appropriation of exterior reality of the modern world... The ready-made is no longer the height of negativity or of polemic, but the basis element of a new expressive repertoire. Such is the New Realism: a direct means for getting one's feet back on the ground but at 40 degree above Dada zero.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 41, note 30

World, Reality, Change

“Everyone thinks they can write a play; you just write down what happened to you. But the art of it is drawing from all the moments of your life.”

Neil Simon (1927–2018) playwright, writer, academic

New York Times, March 24, 1985

Life, Thinking, Drawing

“To disgust men with their work is a serious blunder on the part of human society; what could be more natural than their liking for what they do? Work keeps off boredom, vice, and poverty. It is the remedy for all imagined evils. "The souls' joy lies in doing," said Shelly. Active work saves man from himself; indolence make shim a prey to useless regrets, dangerous reveries, enviousness, and hate. Also the first rule of the art of governing is, at all costs, to keep a nation at work. A bored nation is impossible to govern, but a nation occupied by work which it believes to be useful and accomplishes on its own initiative is already a happy one.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Working

Men, Hate, Happiness, Soul

“The only success worth one's powder was success in the line of one's idiosyncrasy. Consistency was in itself distinction, and what was talent but the art of being completely whatever it was that one happened to be?”

Henry James book The Next Time

"The Next Time," The Yellow Book, vol. VI (July 1895).

Success

“The theater is the only branch of art much cared for by people of wealth; like canasta, it does away with the bother of talk after dinner.”

Mary McCarthy (1912–1989) American writer

"Up the Ladder from Charm to Vogue", p. 185. First published in two parts in The Reporter (July 18 and August 1, 1950)
On the Contrary: Articles of Belief 1946–1961 (1961)

People, Wealth

“Prizefighting is short. Get in. Get rich. Get out. But martial arts is for life. It's for life.”

Conor McGregor (1988) Irish mixed martial artist and boxer

UFC 178 post-event press conference https://www.youtube.com/watch?v=zAAC34JzxS0 (September 2014), Ultimate Fighting Championship, Zuffa, LLC 2010s, 2014

Life

“I finally got to the point where I decided I don't care if it's good art or bad art, it's what I do. I enjoy doing it, and people like it.”

Margaret Keane (1927) American artist

2014, Cited by Jesse Hamlin

People

“Because of the limited keyboard. This is a very strange thing. When I play the piano, I get clear down to the left edge of the piano. Now, unlike Art Tatum, I don't take runs that go up, that always end up on the extreme high "C". But I really do like the low end. Even as an organist, it has bothered me that the keyboards are five octaves and stop at "C". I've always wished that my pedal board went down to "F". My harmonic thinking gets involved clear down to that "F" and to be cut off at the "C". I can't explain it. It's as if somebody were standing right next to you while you were playing and you just kept having the feeling like: "I can't go there; I can't go there."”

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

It does something to me. Whereby [sic] having the full keyboard just opens up a world of things to me. On his preference for Yamaha's 88-key PF-15 piano over the then prevalent DX7; radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT457&dq=%22because+of+the+limited+keyboard%22&hl=en&sa=X&ved=0ahUKEwjOhaCoxMXRAhXB5iYKHcvbBykQ6AEIGjAA#v=onepage&q&f=false (1992, 2006, 2014)

World, Feeling, Thinking

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase: In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

People, Search, Flowers, Idea

“He [Tolstoy] could see little good in the clergy, while he utterly condemned the military, the rulers of the earth, the judges, the capitalists, the landlords, the merchants, the jailers, the functionaries. He assailed modern art and classed artists with scientists and ministers as the lackeys of a degenerate and parasitic class of wealthy men. Political economists he considered as retainers of the same class and their product as the throwing of dust in the eyes of those who seek for a way out of our unhappy social conditions.”

Robert Hunter (author) (1874–1942) American sociologist, author, golf course architect

Source: Why We Fail as Christians (1919), p. 77

Men, Way

“It is always understood as an expression of condemnation when anything in Literature or Art is said to be done for effect; and yet to produce an effect is the aim and end of both.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

Literature

“These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Communication

“Society is eliminating the prerogatives and privileges of feudal. aristocratic culture together with its content. The fact that the transcending truths of the fine arts, the aesthetics of life and thought, were accessible only to the few wealthy and educated was the fault of a repressive society. But this fault is not corrected by paperbacks, general education, long-playing records, and the abolition of formal dress in the theater and concert hall. The cultural privileges expressed the injustice of freedom, the contradiction between ideology and reality, the separation of intellectual from material productivity; but they also provided a protected realm in which the tabooed truths could survive in abstract integrity—remote from the society which suppressed them.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 64-65

Life, Truth, Education, Reality

“The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

“As intelligent life that can impact a comet with total precision, send missions to Mars, and create beauty, art, dance, literature, and music, the greatest sex organ is the mind and my guess is there are orgasms awaiting us like none we have known before, provided we get there.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

Vanna Bonta Talks Sex in Space (Interview - Femail magazine)

Life, Beauty, Music, Sex

“Art can never exist without Naked Beauty displayed.”

William Blake (1757–1827) English Romantic poet and artist

The Laocoön
1800s

Beauty

“Total abstraction was something intellectual to me. I didn't feel it; I could talk about Mondrian but it didn't occur to me to do it. [around 1950]. I saw a Dubuffet show at Pierre Matisse [the son of Henri Matisse, running an art-gallery in New York then] in the late forties and came back with a new vocabulary. Also when Baziotes won the Carnegie (1948) there was a reproduction in 'The Times'. I remember bringing it to class. It was source of bewilderment, delineated configurations that seemed to come out of Cubism. It was something new. Those were the tastes of a whole dimension that was to come, much more abstract and allover and I didn't see much more of it until I came to New York. I would go to the old Guggenheim to look at Kandinsky. I liked the early abstractions but the later ones I didn't like at all..”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 36

Feeling, Time

“Italo Calvino said the artist reveals that bit of truth hidden at the bottom of every lie. Art is all about the art of lying. The artist’s imperative is to create a supreme fiction, a lie that, paradoxically, discloses a truth. It's precisely this kind of paradox that Calvino and Fellini adored.”

Damian Pettigrew Canadian filmmaker

On truth and lies, in O Estado de São Paolo (November, 2003)

Truth, Lie, Lying

“The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.”

Susan Sontag book On Photography

"The Heroism of Vision", p. 105
On Photography (1977)

Painting

“Confronted, when the weather is fine and I am in propitious emotional circumstances, with certain landscapes, certain works of art, certain human beings, I know, for the time being, that God's in his heaven and all's right with the world. On other occasions, skies and destiny being inclement, I am no less immediately certain of the malignant impersonality of an uncaring universe. Every human being has had similar experiences. This being so, the sensible thing to do would be to accept the facts and frame a metaphysic to fit them. But with that talent for doing the wrong thing, that genius for perversity, so characteristically human, men have preferred, especially in recent times, to take another course. They have either denied the existence of these psychological facts; or if they have admitted them, have done so only to condemn as evil all such experiences as cannot be reconciled in a logical system with whatever particular class of experiences they have chosen, arbitrarily, to regard as "true" and morally valuable. Every man tries to pretend that he is consistently one kind of person and does his best consistently to worship one kind of God. And this despite the fact that he experiences diversity and actually feels himself in contact with a variety of divinities.”

Aldous Huxley (1894–1963) English writer

“One and Many,” pp. 3–4
Do What You Will (1928)

Men, God, World, Feeling

“There is a somewhat analogous situation with regard to the heterosexual seduction procedure in our Politically Correct times: the two sets, the set of PC behaviour and the set of seduction, do not actually intersect anywhere; that is, there is no seduction which is not in a way an "incorrect" intrusion or harassment — at some point, one has to expose oneself and "make a pass." So does this mean that every seduction is incorrect harassment through and through? No, and that is the catch: when you make a pass, you expose yourself to the Other (the potential partner), and she decides retroactively, by her reaction, whether what you have just done was harassment or a successful act of seduction — and there is no way to tell in advance what her reaction will be. This is why assertive women often despise "weak" men — because they fear to expose themselves, to take the necessary risk. And perhaps this is even more true in our PC times: are not PC prohibitions rules which, in one way or another, are to be violated in the seduction process? Is not the seducer’s art to accomplish this violation properly — so that afterwards, by its acceptance, its harassing aspect will be retroactively cancelled?”

Slavoj Žižek (1949) Slovene philosopher

The Fragile Absolute: or, why is the Christian legacy worth fighting for? (London: Verso, 2000, ), p. 111.

Women, Men, Fear, Way

“A great department store, easily reached, open at all hours, is more like a good museum of art than any of the museums we have yet established.”

John Cotton Dana (1856–1929) American librarian and museum director

New York Times, March 16, 2010 http://www.nytimes.com/2010/03/17/arts/17iht-rartmuseums.html

“I agree completely with your remark that in the struggle against nature lies already a part of art, and really pleasant is for me already the feeling of returning as a victor from small skirmishes, although in the great battle one always feels still defeated. As you advised me, I have made sketches of skies, indicating the effect in them, and making a note for the important colors; I also did better in making a small sky; at least people think so.”

Gerard Bilders (1838–1865) painter from the Netherlands

translation from the Dutch original: Fons Heijnsbroek version in original Dutch / citaat van Gerard Bilders' brief, in het Nederlands: Uwe opmerking, dat in den strijd tegen de natuur reeds een gedeelte der kunst ligt, vind ik volkomen juist, en regt aangenaam is reeds het gevoel, waarmede men als overwinnaar terugkeert uit kleine schermutselingen, hoewel men zich in den grooten slag toch steeds als verslagen gevoelt. Zoo als u mij aanraadt, heb ik schetsen van luchten gemaakt, het effect er in aangeduid en de voornaamste kleuren er bij geschreven; ik ben dan nu ook in een klein luchtje wat beter geslaagd; men vindt het ten minste. Quote of Gerard Bilders, in a letter to his maecenas Johannes Kneppelhout, 5 Feb. 1858; from an excerpt of this letter https://rkd.nl/nl/explore/excerpts/526, in the RKD-Archive, The Hague 1850's

People, Color, Feeling, Nature

“Whether to call myself Winifred Hudnut or Natacha Rambova or Mrs. Rodolph Valentino, I don't know. Natacha Rambova seems to belong most to me, the individual I think I am, but of course, I wasn't born that way. When I went into the Russian Ballet, though, I had to have a Russian name. That was just after my course at art school in Paris and I was seventeen, and I have been using that name ever since. I speak Russian and all that is Russian appeals to me and moreover that is what Rudy calls me.”

Natacha Rambova (1897–1966) American film personality and fashion designer

On her name, p. 58
Photoplay: "Wedded and Parted" (December 1922)

School, Way, Thinking

“In its essence, any art that relies on words makes use of their ability to eat away — of their corrosive function — just as etching depends on the corrosive power of nitric acid.”

Yukio Mishima book Sun and Steel

Source: Sun and Steel (1968), p. 8.

Dependency

“Every innovation scraps its immediate predecessor and retrieves still older figures – it causes floods of antiques or nostalgic art forms and stimulates the search for museum pieces.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1970s, The argument: causality in the electric world (1973)

“It is the addition of strangeness to beauty that constitutes the romantic character in art.”

Walter Pater (1839–1894) essayist, art and literature critic, fiction writer

Appreciation, Postscript (1889)

Beauty

“E-literature is certainly a broader concept than e-poetry, but it can also be limiting: like Verlaine in a famous line from his Art Poétique, one might conclude: et tout le reste est e-littérature, to emphasize the imponderable specificity of poetry.”

Caterina Davinio (1957) Italian writer

Source: Virtual Mercury House. Planetary & Interplanetary Events, p. 128

Literature

“Politics is not the art of the possible. It consists in choosing between the disastrous and the unpalatable.”

John Kenneth Galbraith (1908–2006) American economist and diplomat

Letter to John F. Kennedy (2 March 1962), printed in Galbraith's Ambassador's Journal (1969)

“But the real truth is that there never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other. Sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost.”

Harold Pinter (1930–2008) playwright from England

Art, Truth & Politics (2005)

Truth, Feeling

“A visit to a studio never fails to test my resources. It constantly reminds me of the condition in which most people first confront contemporary art. This is a state of "not knowing", of "not understanding", of being disorientated or challenged by the unfamiliar. One of my responsibilities as a curator is therefore to remember that a visitor encountering an unfamiliar work of art in the museum is likely to be as unprepared as I was in the studio. But I've come to realise that it's precisely when I am most challenged in my own reactions that the deepest insights emerge.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

People, Understanding

“As we all know, the singularity in the art of Bach is the fusion of both levels and lines, the horizontal and vertical line. It’s a real wonder to see that the creation and forming of the horizontal line, the polyphonic structure, also results in this perfect, beautiful vertical line, the harmonic line. As we also know, Bach already used the full harmonic range and radius as no composer before him. My artistic aim of course is to point out the horizontal line in soloistic manner in a dynamically elastic way, but in the same breath to form the harmonic line in a bright field of color (I would call it “harmonic articulation”), to achieve a particular atmosphere of emotions and moods, drama, velocity, vividness, and so on. As we can imagine, these are high demands …”

Burkard Schliessmann classical pianist

Talkings on Bach

Beauty, Color, Way, Imagination

“O little booke, thou art so unconning,
How darst thou put thy-self in prees for drede?”

Geoffrey Chaucer (1343–1400) English poet

The Flower and the Leaf, line 59
Bartlett's Familiar Quotations, 10th ed. (1919)

Books

“I have already said that a thing which 'exists in a person's head' and nowhere else is alternatively called an imaginary thing. The actual making of the tune is therefore alternatively called the making of an imaginary tune. This is a case of creation, just as much as the making of a plan or a disturbance, and for the same reasons, which it would be tedious to repeat. Hence the making of a tune is an instance of imaginative creation. The same applies to the making of a poem, or a picture, or any other work of art.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: The Principles of Art (1938), p. 134

Imagination, Personality

“There are many ways to practice and make art. There are also various ways to express, such as comedy, sculpture, music, painting etc. Dimensions can be immense even in such small spaces as the head of a pin.”

Eugenio Cruz Vargas (1923–2014) Chilean poet and painter

Quote Source: Famous phrase of Eugenio Cruz Vargas http://www.angelred.com/urls/arte.htm| Source: Sky http://viaf.org/viaf/13641853/| Source: From Library of Congress Name Authority File of U.S.A. http://id.loc.gov/authorities/names/n81126660.html|

Music, Way, Painting

“A walk down 14th street is more amazing than any masterpiece of art.”

Allan Kaprow (1927–2006) American artist

[[http://streets2k5.albuscav.us/upstage_guide.pdfStreets 2K5 international festival Of Street Art (May 2005) p. 19

“I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started [at the w:Bauhaus in Dessau] instead a method of handling material with the material itself. So that was my main change. Whereas Itten before [Itten left the Bauhaus in 1923 and Albers followed him as art-teacher] had only spoken about the appearance, 'matiere' - (the French word) and I said I would turn from 'matiere' - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think.”

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

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

Thinking, Teachers, Appearance, Change

“In art there are tears that do often lie too deep for thoughts.”

Louis Kronenberger (1904–1980) American critic and writer

This is a play on "Thoughts that do often lie too deep for tears", the last line of William Wordsworth's "Ode: Intimations of Immortality from Recollections of Early Childhood" http://en.wikisource.org/wiki/Ode:_Intimations_of_Immortality_from_Recollections_of_Early_Childhood. Source: Company Manners: A Cultural Inquiry into American Life (1954), p. 28.

Lie, Tear

“It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer’s deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

1922
Quote from 'Grundbegriffe der neuen Gestaltenden Kunst', essay by Van Doesburg (published between 1921-23 in De Stijl) - last Chapter; as quoted in 'Fifty Years of Accomplishment, From Kandinsky to Jackson Pollock', by Michel Seuphor, Dell Publishing Co. 1964, p. 85-86
1920 – 1926

Way, Nature, Parting, Perfection

“I think it’s important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that’s a problem. You’ve got to be willing to let the art of cinema take you into some darker places if you’re going to make full use of it. There are some people who shouldn’t watch horror films, and I’m all right with that. It’s not about putting something evil in the world. It’s about reckoning with evil. We don’t need any more evil in the world. We need a lot more reckoning with it.”

Scott Derrickson (1966) American screenwriter and film director

Interview: Filmmaker Scott Derrickson on Horror, Faith, Chesterton and His New Movie http://www.ncregister.com/daily-news/interview-scott-derrickson (July 1, 2014)

Happiness, People, World, Problem

“Can art, alas! or genius guide the head
Where truth and freedom from the heart are fled?
Can lesser wheels repeat their native stroke,
When the prime function of the soul is broke?”

Mark Akenside (1721–1770) English poet and physician

Source: Epistle to Curio (1744), Lines 265–268

Truth, Soul, Freedom, Heart

“Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient', contained in the work.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

Personality

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 59-60

Life, Fate, Pleasure, Truth

“The music of Marian Anderson and other African-American artists has greatly enriched our quality of life and created one of our Nation's most treasured art forms. As universal and original expressions of the human experience, their body of work, both past and present, entertains, inspires, and thrills countless people around the world.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

Life, People, World, Music

“Isn't love thousandfold? Isn't it like the sun that shines on everything? Must love be stingy? Must love give everything to one person and take from the others... I don't know much about the two of you [ Rilke and Clara ]; but it seems to me that you have shed too much of your old self and spread it out like a cloak so that your king [Rilke] can walk on it. I wish for your sake and for the world and for art [Clara is sculptress] and also for my sake that you would wear your own golden cape again..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 202
1900 - 1905

Love, World, Sun, Personality

“People keep on wanting fetish figures, and things like that are very popular. That's Pop art. There was an enormous resistance to Abstract Expressionism and there still is to that school, which is not dead at all. But Pop art came as a reaction to that because kids can't paint abstract expressionism unless they're under five year of age. Because it really is tremendously hard work and it's very challenging. But the point is, people love an immediately recognizable word – if you put a word in anything, they lie it... I am not interested in culture at all. Once a work of art has gotten into the culture, its dead as far as I'm concerned. I think there is a difference between art and culture. Or as the sage once said, 'Art is what we do; culture is what is done to us.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, pp. 22-23

Love, People, Lie, Age

“To our western eyes, the painted images are the most prominent component of a corpus of artistic expression. This Western bias, a particularly Eurocentric bias, has been pervasive and deep. …it has resulted in a lack of attention to, and concern about, prehistoric art of equal and sometimes greater antiquity in eastern and southern Africa.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Painting

“No refining of one's taste in matters of art or literature, no sharpening of one's powers of insight in matters of science or psychology, can ever take the place of one's sensitiveness to the life of the earth. This is the beginning and the end of a person's true education.”

John Cowper Powys (1872–1963) British writer, lecturer and philosopher

Source: The Meaning of Culture (1929), p. 175

Life, Education, Literature, Science

“Every philosophy is complete in itself and, like a genuine work of art, contains the totality. Just as the works of Apelles and Sophocles, if Raphael and Shakespeare had known them, should not have appeared to them as mere preliminary exercises for their own work, but rather as a kindred force of the spirit, so, too reason cannot find in its own earlier forms mere useful preliminary exercises for itself.”

Georg Wilhelm Friedrich Hegel (1770–1831) German philosopher

Difference of the Fichtean and Schellingean System of Philosophy, cited in W. Kaufmann, Hegel (1966), p. 49

Exercises, Appearance

“Purge the world of bourgeois sickness, ‘intellectual’, professional & commercialized culture … PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, … promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals … FUSE the cadres of cultural, social & political revolutionaries into united front & action.”

George Maciunas (1931–1978) Lithuanian artist

Maciunas (1963), Fluxus Manifesto, copies of which were thrown into the audience at the Festum Fluxorum Fluxus, Düsseldorf, February 1963.

People, World, Reality

“In all these products, whether iron bridges, locomotives, automobiles, telescopes, cottages, airport-hangars, funicular railways, skyscrapers, or children's toys, the will towards a new style expresses itself. The similarity of these examples to the new creations in art consists in the same striving for clear, pure form which expresses truth in the objects.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'The will to Style', in Dutch art-magazine De Stijl February-March 1922; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 123
1920 – 1926

Children, Truth

“Great art should come from the harmony of two lines.”

Arthur Wesley Dow (1857–1922) painter from the United States

Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, Boston (1899)
Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, Boston (1899)

“What to leave out is the first thing the artist has to decide; a painter who “held the mirror up to nature” would spend his life on the leaves of one landscape. The work of art’s fluctuating and idiosyncratic threshold of attention—the great things disregarded, the small things seized and dwelt on—is as much of a signature as anything in it.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Profession of Poetry”, p. 162
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life, Nature

“…the inglorious arts of peace…”

Andrew Marvell (1621–1678) English metaphysical poet and politician

Upon Cromwell's Return from Ireland (1650)

Peace

“Then you will do away with the only social meetings [at the Art Academy in London ] we have, the only occasion on which we all come together in an easy, unrestrained manner. When we have no varnishing days, we shall not know one another.”

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

Quote of Turner, told by Mr. C?. Leslie; as cited in 'The life of J.M.W. Turner', Volume II, George Walter Thornbury; https://ia801207.us.archive.org/18/items/lifeofjmwturnerr02thor/lifeofjmwturnerr02thor.pdf Hurst and Blackett Publishers, London, 1862, pp. 186-87 Mr. Leslie gives Turner's respond on the idea to stop with the tradition of the pleasant [varnishing] days of the Academy before the yearly exhibition undated quotes

“One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself.”

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

"George Jean Nathan" (1953), p. 61
Profiles (1990)

Business, Science, Personality

“Art is an adventure. When it ceases to be an adventure, it ceases to be art. Not all of us pursue the inaccessible landscapes of the twelve-tone scale, just as not all of us strive for inaccessible mountain-tops, or glory in storms at sea. But the human incidence is there. Could it be that these two impractical pursuits - of beauty and of adventure’s embrace - are simply two differing profiles of the same uniquely human reality?”

Robert Ardrey book The Hunting Hypothesis

The Hunting Hypothesis: A Personal Conclusion Concerning the Evolutionary Nature of Man (1976)

Beauty, Mountain, Reality, Sea

“Whatever the practical origins of aesthetic discernment may have been, it has been used to create great works of art. When the very loftiest human creations are seen to derive from humble origins and functions, what needs revision is not our esteem for these creations but our notion of nobility.”

Robert Nozick book The Nature of Rationality

The Nature of Rationality (1993), Ch. V : Instrumental Rationality and Its Limits; Rationality's Imagination, p. 181

“As the journey of "Third Text", a collaborative art project that brings together participants from all over the world, particularly from Africa, Asia, the Caribbean and Latin America, continues, the idea also begins contemplating those land-based projects which were somewhat abandoned in the early seventies.”

Rasheed Araeen (1935) English artist

Art Beyond Art: Ecoaesthetics: A Manifesto for the 21st Century, London: ThirdText Publications, p. 5 (2010).

World, Idea

“Sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.”

Albrecht Dürer (1471–1528) German painter, printmaker, mathematician, and theorist

The Art of Measurement (1525).

Error, Knowledge

“Taking the chance of making a complete fool of himself — and, sometimes, doing so — is the first demand that is made upon any real critic: he must stick his neck out just as the artist does, if he is to be of any real use to art.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Age of Criticism”, p. 79
Poetry and the Age (1953)

Fools, Chance

“I know of no 'new programme'... Only that art is forever manifesting itself in new forms, since there are forever new personalities – its essence can never alter, I believe. Perhaps I am wrong. But speaking for myself, I know that I have no programme, only the unaccountable longing to grasp what I see and feel, and to find the purest means of expressing for it.”

Karl Schmidt-Rottluff (1884–1976) German artist

In the periodical 'Kunst und Künstler', 1914; as quoted in Expressionism', de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 20

Feeling, Personality

“You don't love yourself enough. Or you'd love your nature too, and what it demands of you. People who love what they do wear themselves down doing it, they even forget to wash or eat. Do you have less respect for your own nature than the engraver does for engraving, the dancer for the dance, the miser for money or the social climber for status? When they're really possessed by what they do, they'd rather stop eating and sleeping than give up practicing their arts. Is helping others less valuable to you? Not worth your effort?”

Marcus Aurelius book Meditations

Hays translation
V, 1
Meditations (c. 121–180 AD), Book V

Love, Money, People, Nature

“Traditions that were once vital, sincere and splendid and which are now merely empty formulae, [nor to imitate fifth rate western art slavishly] break away from both and produce something vital, connected with the soil, something essentially Indian.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

Amrita to her contemporary painters.
Sikh Heritage,Amrita Shergil

Sincerity

“The people of China forged their own literature apart from letters. And today this is what lives, to be part of what is to come, and all the formal literature, which was called art, is dead. The plots of these novels are often incomplete, the love interest is often not brought to solution, heroines are often not beautiful and heroes often are not brave. Nor has the story always an end; sometimes it merely stops, in the way life does, in the middle of it when death is not expected.
In this tradition of the novel have I been born and reared as a writer.”

Pearl S. Buck (1892–1973) American writer

The Chinese Novel (1938)

Love, Life, Death, People

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

Robert Motherwell (1915–1991) American artist

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory' from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me' 1950s

Men, World, Feeling, Appearance

“I want to say something about Picasso as a revolutionary. A revolution in the history of art is a reflection of the history of society. Art cannot revolutionize society. It is a reflection of that revolution.. You [= Joseph Beuys ] talking in the same interview] have revolutionized art. But I do not see that you have revolutionized society directly. You have depicted what has not yet existed.... art and life are not two separate realms, but they have shifted out of phase with each other.”

Anselm Kiefer (1945) German painter and sculptor

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

Life, History

“This exchange – mainly in the form of letters [between the brothers van Gogh] – was not only about painting and art, but covered everything to do with one's existence and the philosophical or religious colouring, in a word: for the reader of the letters written by Vincent to his brother a total of human behaviour is revealed that of the dual being of van Gogh. This is how my first wish and then obsession was started, to build a monument for the two van Gogh brothers.”

Ossip Zadkine (1890–1967) French sculptor

Source: 1940 - 1960, Les frères Van Gogh, origine et justification', c. 1955, pp. 67-69

Painting

“All the fairest things of earth,
Art's creations have their birth —
Still from love and death.”

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

(1836-2) (Vol.47) Subjects for Pictures. II. The Banquet of Aspasia and Pericles
The Monthly Magazine

Love, Death, Birth

“Children wear their natures like brightly-colored clothes; that’s why they lie so transparently. Adulthood is the art of deceit.”

Robert Charles Wilson book The Chronoliths

Source: The Chronoliths (2001), Chapter 13 (p. 156)

Children, Lie, Color, Nature

“As an actor in Iceland, I found good training and colleagues in the National Theatre, and none of us could have predicted the kind of fame that LazyTown found globally. When you are an actor or do anything in the arts for a career, your life will take many unexpected twists and turns.Robbie was a product of many years of thinking and doing. What you see in the TV show is different from his first personality. One of the big challenges playing a part like Robbie is bringing the right kind of energy. You don't want to scare the littlest viewers but you have to bring a certain villain personality with humor.As many actors have said before me, being famous or well known can be nice or it can be a burden, it all depends on how you look at it. I love my fans - they have come along on this ride with me and have said too many nice things for me to ever count. I am grateful.There is no difference in preparing for Robbie Rotten or any classical serious role…. Every part you prepare for you have to be honest and truthful and wholly believe that the character exists – otherwise no one will accept your acting. Kids are a demanding audience and they KNOW when something is untruthful.”

Stefán Karl Stefánsson (1975–2018) Icelandic actor

Reddit AMA https://www.reddit.com/r/IAmA/comments/57bkxj/i_am_stefan_karl_robbie_rotten_from_lazytown_and/ (13 October 2016)

Love, Life, Truth, Thinking

“Works of art which cannot be understood in themselves but need some pretentious instruction book to justify their existence will never again find their way to the German people.”

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

Other remarks Source: Adolf Hitler as in a speech the summer before the Degenerate Art Exhibition as quoted without citation in " Degenerate art: Why Hitler hated modernism http://www.bbc.com/news/magazine-24819441" by Lucy Burns, BBC.

People, Books, Way

“The idea of infinity cannot be expressed in words or even described, but it can be apprehended through art, which makes infinity tangible. The absolute is only attainable through faith and in the creative act.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 39

Faith, Idea

“There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.”

Phillip Guston (1913–1980) American artist

transcript of the panel, March 1960, held at the Philadelphia Museum School of Art, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p.61
1950 - 1960

Painting

“Each age finds its own technique... I mean, the strangeness will wear off and I think we will discover the deeper meanings in modern art.”

Jackson Pollock (1912–1956) American artist

As quoted in Francis V. O'Connor (1967) Jackson Pollock, p. 79
in posthumous publications

Age, Thinking

“The art, also, of alchemy or chemistry is surrounded with such insoluble enigmas that we can scarcely gain anything but ignorance therefrom, and ignotum per ignotius.”

Robert Fludd (1574–1637) British mathematician and astrologer

Robert Fludd, cited in: Waite (1887, p. 291)

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

Confidence, Question, Problem, Painting

“Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

1915 - 1940
Source: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936

Stupidity, Reality, Parting, Housing

“Shall the painter then.... decide upon painting? Shall he be the critic and sole authority? Aggressive as is this supposition, I fear that, in the length of time, his assertion alone has established what even the gentleman of the quill accept as the canons of art, and recognize as the masterpieces of work. Seurat's painting of the Grande Jatte proved extremely influential.”

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

quote of Whistler, (1892) In: Gentle Art of making Enemies, James Abbott McNeill Whistler, G. P. Putnam's Sons, New York, 1922, p. 30
1870 - 1903

Fear, Time, Painting

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris. 1949 - 1958, Various sources

Love, Color, Painting