Quotes about art
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“The art of painting is the Art of hollowing out a canvas.”

Georges Seurat (1859–1891) French painter

from an essay by Roger Fry, in 'The Dial', Camden, New Jersey, September 1926
undated quotes

“2597. Keep thy Judgment to thyself. Why should others know what thou art? or paraphrase upon thy Opinion? Herein thou hast the Advantage of changing thy Mind when thou art mistaken, and yet continue ( for ought others know ) in the same Mind.”

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

Introductio ad prudentiam: Part II (1727)

Change

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

"Quotes", Anatomy of Criticism: Four Essays (1957), Mythical Phase: Symbol as Archetype

People, Light, Time

“On this hapless earth
There ’s small sincerity of mirth,
And laughter oft is but an art
To drown the outcry of the heart.”

Hartley Coleridge (1796–1849) British poet, biographer, essayist, and teacher

"Address to certain Gold-fishes"
Poems (1851)

Laughter, Heart, Sincerity

“The arts babblative and scribblative.”

Robert Southey (1774–1843) British poet

Colloquies on the Progress and Prospects of Society, No. 1, pt. 2 (1829).

“Take care to sell your horse before he dies.
The art of life is passing losses on.”

Robert Frost (1874–1963) American poet

"The Ingenuities of Debt
1940s

Life, Loss, Horse

“There is a saying by Gustave Dore which I have always admired: "J'ai la patience d'un boeuf." [I have the patience of an ox]. I find in it a certain goodness, a certain resolute honesty, more, it has a deep meaning that saying, it is the word of a real artist. When one thinks of the men from whose heart such a saying sprang, all the arguments one too often hears of art dealers about "natural gifts", seem to become a terrible raven's croaking.”

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

Quote in his letter to brother Theo, from Drenthe, The Netherlands, Autumn 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 336) p. 34 1880s, 1883

Men, Nature, Thinking, Heart

“She may have been right. Looking back, I suppose I was expecting, as a young actor, to discuss Stanislavski or 'Acting as an art.' Instead, I palled around with the crew—the grips, the stagehands—and the conversation centered around the two B's—broads and booze.”

Robert Mitchum (1917–1997) American film actor, author, composer and singer

Recalling Katharine Hepburn's assertion that he couldn't act and owed his success solely to his good looks; as quoted in "Kate and Deborah Disagree" https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=SBS19821031.1.97&srpos=1&e=31-10-1982-31-10-1982--en--20--1--txt-txIN-%22she+may+have+been+right%22+%22looking+back%22-------1, in The San Bernardino Sun (October 31, 1982)

“Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.”

John Dewey (1859–1952) American philosopher, psychologist, and educational reformer

Time and Individuality (1940)

Learning, Appearance, Time

“So I wonder a woman, the Mistress of Hearts,
Should ascent to aspire to be Master of Arts;
A Ministering Angel in Woman we see,
And an Angel need cover no other Degree.
—O why should a Woman not get a Degree?”

Charles Neaves (1800–1876) Scottish theologian, jurist and writer

"O why should a Woman not get a Degree?", pulished in Blackwood's Edinburgh Magazine (1869), p. 227.

Angels, Heart

“Ask yourself: "Do I police what people say for political propriety? … do I scrutinize great literature, music, art, television or comedy for signs of so-called sexism, racism, elitism, homophobia, antisemitism and meanness? Am I incapable of appreciating a superbly written script or book; a sublime painting or symphony; a smart stand-up routine, if only because the material and its creator violate the received laws of political correctness?”

Ilana Mercer South African writer

“Joan Rivers – antidote to PC totalitarianism,” http://www.quarterly-review.org/?p=2781 The Quarterly Review, July 11, 2014. 2010s, 2014

People, Books, Law, Music

“What has pleased, and continues to please, is likely to please again: hence are derived the rules of art, and on this immoveable foundation they must ever stand.”

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

Discourse no. 7, delivered on December 10, 1776; vol. 1, p. 223.
Discourses on Art

“It is not expensive to be beautiful. It takes only a little effort to be presentable and beautiful. But it takes some effort. And unfortunately people think of beauty as luxury, beauty as frivolity, … or extravagance. Beauty is a discipline, beauty is art, is harmony, in the ideological sense and in the theological sense, beauty is God and love made real. And the ultimate reach in this world is beauty.”

Imelda Marcos (1929) Former First Lady of the Philippines

Quoted in "Imelda (2003).

Love, God, People, World

“It has been the giver's intention to create as complete a collection of European art as possible, with the aim of illuminating Surrealism and Spontaneous-Abstract art.”

Asger Jorn (1914–1973) Danish artist

refering to his art-gift Jorn made the Mmseum Jorn (1962); as quoted in Silkeborg Kunstmuseum — Jorn Samling by Troels Andersen (1973)
1959 - 1973, Various sources

“Out of the shadow of the abstract man, who thinks for the pleasure of thinking, emerges the organic man, who thinks because of a vital imbalance, and who is beyond science and art.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

On the Heights of Despair (1934)

Pleasure, Thinking, Science

“If getting used to music is the essential condition for understanding, it is hard to see just what purpose is served by writing about it. A few experiences of listening to a symphony or nocturne are worth more than any essay or analysis. The work of art itself teaches us how to understand it, and makes the critic not merely parasitical but strictly superfluous.”

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

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

Music, Understanding

“Every other art,—as poetry, music, painting,—may be practised without the process showing forth the rules according to which it is conducted;—but in the self-cognizant art of the philosopher, no step can be taken without declaring the grounds upon which it proceeds.”

Johann Gottlieb Fichte (1762–1814) German philosopher

Source: The Characteristics of the Present Age (1806), p. 14

Music, Painting

“The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview.”

Arshile Gorky (1904–1948) Armenian-American painter

quote in Abstract Expressionism, Barbara Hess, Taschen, 2005, p. 10
posthumous

Dreams, Communication

“Ask! Interviewing/information extraction is an (exceptionally important) ‘art’ that must be mastered!”

Tom Peters (1942) American writer on business management practices

06 February 2017
Tom Peters Daily, Weekly Quote

“They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 60-61

Truth, World, Hope, Home

“Our delight in any particular study, art, or science rises and improves in proportion to the application which we bestow upon it. Thus, what was at first an exercise becomes at length an entertainment.”

Joseph Addison (1672–1719) politician, writer and playwright

No. 447 (2 August 1712).
The Spectator (1711–1714)

Exercises, Study, Science

“The realization of the pathetic frailty of the knowledge or beliefs on which our life depends thus leads not to despair but to open-eyed courage. But it also points to a most intimate connection between scientific method and liberal civilization. Science is not, as is popularly conceived, a new set of dogmas taught by a newer and better set of priests called scientists. It is rather a method which is based on a critical attitude to all plausible and self-evident propositions. It seeks not to reject them, but to find out what evidence there is to support them rather than their possible alternatives. This open eye for possible alternatives, each to receive the same logical treatment before we can determine which is the better grounded, is the essence of liberalism in art, morals, and politics.... Like science, liberalism insists on a critical examination of the content of all our beliefs, principles, or initial hypotheses and on subjecting them to a continuous process of verification so that they will be progressively better founded in experience and reason.”

Morris Raphael Cohen (1880–1947) American philosopher

Language in Thought and Action, p. 271, (1939), S.I. Hayakawa

Life, Courage, Support, Knowledge

“Art has nothing to do with taste, art is not there to be 'tasted'. Yet a certain mayor believes that art exists to be 'judged', and the most modern art to be 'judged from a business point of view'. That such an original thought could emerge from a mayor's brain! What the mayor wants is exactly what the critics of the large and small dailies actually do. They set out to judge art. That is a very pleasant occupation, because no matter how wrong a judgment may be, you never have to revise it. The art judges talk about 'ability' and complain that the 'younger generation' has lost this ability. Sometimes their complaints are even seriously intended. But, gentlemen, do you really know what that is — ability? No, you don't.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

As quoted in Max Ernst: Sculptures (1996) by Max Ernst, Jürgen Pech, and Ida Gianelli, p. 11
posthumous

Business

“.. that famous idea of 'beauty', which is, as everybody says, the goal of the arts. If it is their only goal, what becomes of the men like Rubens, Rembrandt, and all the northern natures generally, who prefer other qualities? Demand purity, In a word beauty... In general the men of the north tend less in that direction. The Italian prefers ornament.”

Eugène Delacroix (1798–1863) French painter

Quote 1847, as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
1831 - 1863

Men, Beauty, Idea, Nature

“The only art her guilt to cover,
To hide her shame from every eye,
To give repentance to her lover,
And wring his bosom, is — to die.”

Oliver Goldsmith book The Vicar of Wakefield

Source: The Vicar of Wakefield (1766), Ch. 29, Song, st. 2.

Lovers

“Decidedly the best application of art to industry is when a great many copies are made from an exceedingly good pattern.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 1

“It is the greatest injustice done to Mondrian that people who are plastically blind see only decorative design instead of the plastic perfection which characterizes his work. The whole De Stijl group from which Mondrian's art was derived must be considered a protest against such blindness.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 47
Search for the Real and Other Essays (1948)

People, Perfection

“Here my idea is to declare that art is the only possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity. And therefore it's necessary at first that society cares about the educational system, that equality of opportunity for self-realization is guaranteed.”

Joseph Beuys (1921–1986) German visual artist

Source: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5

World, Education, Idea, Sense

“And it is the notions of reality and unreality themselves which finally become suspect when either one is mirrored in art, much less when both are mirrored together.”

Samuel R. Delany book Neveryóna

Source: Neveryóna (1983), Chapter 3, “Of Markets, Maps, Cellars, and Cisterns” (p. 61)

Reality

“Part of the art of being an architect is to be a good listener. But I also believe in always providing strong leadership. Something that is designed by committee, in the end, tends to be compromised.”

Norman Foster, Baron Foster of Thames Bank (1935) British architect

Harvard Business Review http://hbr.org/2011/03/lifes-work-norman-foster/ar/1

Strong, Parting

“Art, if it is successful in the task of questioning reality, if it is good painting and not merely a performance of dexterity, will be an affirmation of God.”

Patrick Swift (1927–1983) British artist

Italian Report (1955).
Italian Report (1955)

God, Question, Reality, Success

“An art that heals and protects its subject is a geography of scars.”

Wendell Berry (1934) author

"Damage".
What Are People For? (1990)

“Yes. There was a period when I tried to avoid looking at Greek – and Renaissance – sculpture of any kind; when I thought that the Greek and Renaissance were the enemy and that one had to throw all that over and start again from the beginning of primitive art. It's only in the last ten or fifteen years that I've begun to know how wonderful the elgin Marbles are.”

Henry Moore (1898–1986) English artist

Quote from 'Henry Moore', an interview by Donald, in 'Horizon', New York, Nov. 1960
1955 - 1970

“To break and be able to grow together again in a better way: that is the difficult art.”

Asger Jorn (1914–1973) Danish artist

Statement of 1963, as quoted in Asger Jorn (2002) by Arken Museum of Modern Art
1959 - 1973, Various sources

Way

“Papa painted small landscapes by the river in Coyoacán, and copied sentimental paintings in watercolour and oil. Afterwards, he gave me a little box of paints that belonged to him. Ángel Salas gave me a small book that told me how to prepare the canvases, and I made them smooth, smooth. The courtship with Gómez Arias lasted from 1922 until 1925, when the bus crushed us both. Gómez Arias brought me books on painting and painters from Europe. These were the first books on art that fell into my hands.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 73

Books, Painting, Box

“These games are marvelous,” Amanda said. “I like them especially because they are so meaningless and boring, and trivial. These qualities, once regarded as less than desirable, are now everywhere enthroned as the key elements in our psychological lives, as reflected in the art of the period as well as—”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Games Are the Enemies of Beauty, Truth, and Sleep, Amanda Said”, p. 77.
The Teachings of Don. B: Satires, Parodies, Fables, Illustrated Stories, and Plays of Donald Barthelme (1992)

Game

“Great art is as irrational as great music. It is mad with its own loveliness.”

George Jean Nathan (1882–1958) American drama critic and magazine editor

From his book House of Satan

Music, Madness

“I think I'm getting into the real mood and atmosphere of Worpswede now. What I used to call my Sunken Bell mood, the spell I was under when I first got here, was sweet, very sweet – but it was really only a dream, and one that couldn't last long in any sort of active life. Then came the reaction to it, and after that something truer – serious work and serious living for my art, a battle I must fight with all my strength. I am filled with the sun, every part of me, and with the breezy air, intoxicated with the moonlight on the bright snow... Nature was speaking with me and I listened to her, happy and vibrant. Life.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 193-194
1897

Life, Happiness, Dreams, Mood

“But if men either knew themselves thoroughly, or had the slightest knowledge of God, they would never claim as their own a divine and immortal nature; nor would they think themselves something great because they have made for themselves gridirons, basins, and bowls, because they have made under-shirts, outer-shirts, cloaks, plaids, robes of state, knives, cuirasses and swords, mattocks, hatchets, ploughs. Never, I say, carried away by pride and arrogance, would they believe themselves to be deities of the first rank, and fellows of the highest in his exaltation, because they had devised the arts of grammar, music, oratory, and geometry. For we do not see what is so wonderful in these arts, that because of their discovery the soul should be believed to be above the sun as well as all the stars, to surpass both in grandeur and essence the whole universe, of which these are parts.”

Arnobius (255–327) Christian apologist

Book II, § 19
Adversus Nationes

Men, God, Music, Soul

“The art of dying is part of the art of living.”

Tarik Gunersel (1953) Turkish actor

Oluşmak (To Become) Aphorisms (Pan Publishing House, Istanbul, 2011)

Parting

“Some intellectuals’ downplaying of objective reality and enduring criteria extends beyond social, scientific, or economic phenomena into art, music, and philosophy. The one over-riding consistency across all these disparate venues is the self-exaltation of the intellectuals. Unlike great cultural achievements of the past, such as magnificent cathedrals, which were intended to inspire kings and peasants alike, the hallmark of self-consciously “modern” art and music is its inaccessibility to the masses and often even its deliberate offensiveness to, or mockery of, the masses.
Just as a physical body can continue to live, despite containing a certain amount of microorganisms whose prevalence would destroy it, so a society can survive a certain amount of forces of disintegration within it. But that is very different from saying that there is no limit to the amount, audacity and ferocity of those disintegrative forces which a society can survive, without at least the will to resist.”

Thomas Sowell (1930) American economist, social theorist, political philosopher and author

Source: 2010s, Intellectuals and Society (2010), Ch. 22 : The Influence of Intellectuals

Music, Reality, Past

“Dots are just one example of an element in Lascaux art, and in all cave art… This is a profusion of nonrepresentational, geometric patterns. In addition to dots, there are grids and chevrons, curves and zigzags, and more. …The coincidence of these geometric motifs with representational images is one of the most puzzling aspects of Upper Paleolithic art. …images, six different kinds in all, are shimmering, incandescent, mercurial—and powerful. Called entoptic images—which means "within vision"—these phenomena are products of the basic neural architecture of the human brain.”

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

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

“Today, for the mass of humanity, science and technology embody 'miracle, mystery, and authority'. Science promises that the most ancient human fantasies will at last be realized. Sickness and ageing will be abolished; scarcity and poverty will be no more; the species will become immortal. Like Christianity in the past, the modern cult of science lives on the hope of miracles. But to think that science can transform the human lot is to believe in magic. Time retorts to the illusions of humanism with the reality: frail, deranged, undelivered humanity. Even as it enables poverty to be diminished and sickness to be alleviated, science will be used to refine tyranny and perfect the art of war.”

John Gray book Straw Dogs: Thoughts on Humans and Other Animals

The unsaved: The Grand Inquisitor and Flying Fish (p. 123)
Straw Dogs: Thoughts on Humans and Other Animals (2002)

War, Age, Hope, Thinking

“The most perfect art was Greek art. Raphael is the greatest of all masters in painting'. Such were the doctrines of every art teacher only twenty or thirty years ago.”

Emil Nolde (1867–1956) German artist

1.
1900 - 1920, On Primitive Art – Emil Nolde, 1912

Teachers, Painting, Perfection

“Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War, Age, World, Way

“Art like life should be free, since both are experimental.”

George Santayana (1863–1952) 20th-century Spanish-American philosopher associated with Pragmatism

The Life of Reason: The Phases of Human Progress (1905-1906), Vol. IV, Reason in Art

Life

“Pop art is the inedible raised to the unspeakable.”

Leonard Baskin (1922–2000) American sculptor

Leonard Baskin, Publishers Weekly (5 April 1965).

“The philosophy of the soul of my people appears to me as an expression of an inward tragedy analogous to the tragedy of the soul of Don Quixote, as the expression of conflict between what the world is as scientific reason shows it to be and what we wish that it might be, as our religious faith affirms it to be. And in this philosophy is to be found the explanation of what is usually said about us — namely, that we are fundamentally irreducible to Kultur — or in other words, that we refuse to submit to it. No, Don Quixote does not resign himself either to the world, or to science or logic, or to art or esthetics, or to morality or ethics.”

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

The Tragic Sense of Life (1913), Conclusion : Don Quixote in the Contemporary European Tragi-Comedy

People, World, Faith, Soul

“Theology is just like sex, the art of penetrating the mystery.”

Leon Bertoletti (1971)

Arts http://www.hicsuntleones.co.uk/2007/06/arts.html, Hic Sunt Leones, 15/6/2007

Sex

“Educators know there are only two types of schooling: indoctrination and education.
Indoctrination teaches a student how to cleave to a party line, and to recite the slogans and bromides of the accepted conformity. He is taught only how to swallow lies, and there is no assurance he will not swallow the propaganda of foes as easily as that of friends. Such folk are hopelessly provincial to their time and place. Unable to distinguish truth from fable, they swallow both or spit both out, and become zealots, or, worse yet, cynics. The zealot holds that truth can be won with no effort; the cynic, that no effort will suffice.
Education teaches the art of skeptical inquiry. The student learns the thoughts of all the great minds of the past, so that the implications and mistakes of philosophy of various schools are not unknown to him. And he learns, first, current scientific theories and, second, how frail and temporary such theories can be. He learns to be undeceived by those who claim to know a last and final truth.”

John C. Wright (1961) American novelist and technical writer

Source: Titans of Chaos (2007), Chapter 22, “The Bubble Bath” (p. 309)

Truth, Education, School, Effort

“.. a demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.”

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

Quote from Van Doesburg's text 'Towards elementary plastic expression', as cited in Material zur elementaren Gestaltung, G-1, July 1923; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 141
1920 – 1926

“The Guide sang: The new age, the new art, the new ethic and thought, And fools crying, Because it has begun It will continue as it has begun! The wheel runs fast, therefore the wheel will run Faster for ever, The old age is done, We have new lights and see without the sun. (Though they lay flat the mountains and dry up the sea, Wilt thou yet change, as though God were a god?)”

Clive Staples Lewis book The Pilgrim's Regress

Pilgrim’s Regress 186–187
The Pilgrim's Regress (1933)

God, Age, Fools, Mountain

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Women, People, Way, Home

“poetry, which is the voice of the soul's aspirations, has for it, of all the arts, the most natural and immediate appeal.”

Florence Earle Coates (1850–1927) American writer and poet

On poetry

Soul, Nature

“There are two great uses of antiquarian studies. One of them is to enable us to conjure up as if by the magician's wand the dress, furniture, architecture, &c., of past ages, so that we can live, as it were, in many centuries almost at the same moment. This is a very great and a very pleasant species of knowledge, but it is not particularly useful in this work-a-day world; and it sometimes, like other knowledge, renders its possessor far from happy, more especially when he goes to the theatre, and sees all sorts of anachronisms and impossibilities a. The other use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 13

Happiness, Age, World, Knowledge

“Sedgwick has managed to convert pedestrian critical skills and little discernible knowledge in history, philosophy, psychology, art or even pre-modern literature into a lucrative academic career.”

Camille Paglia (1947) American writer

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 222

History, Literature, Knowledge

“Yes, yes, I see it all! — an enormous social activity, a mighty civilization, a profuseness of science, of art, of industry, of morality, and afterwords, when we have filled the world with industrial marvels, with great factories, with roads, museums and libraries, we shall fall exhausted at the foot of it all, and it will subsist — for whom? Was man made for science or was science made for man?”

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

The Tragic Sense of Life (1913), I : The Man of Flesh and Bone

World, Science

“Don't bother about the result. Throw away your thinking of art, and then become yourself: just walk quietly in yourself, in your own ground.”

Gerrit Benner (1897–1981) Dutch painter

version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Je moet niet aan het resultaat denken. Je moet de gedachte aan kunst van je afzetten, en dan jezelf zijn: rustig doorwandelen in jezelf, in je eigen gebied. Quote of Benner, as cited in a short text, announcing the exposition of Gerrit Benner in Stedelijk Museum, The Hague, 2010 https://www.gemeentemuseum.nl/nl/tentoonstellingen/gerrit-benner undated quotes

Thinking

“I like science and I love gym. Oh, and I like art, but I'm really bad at it. I'm just a terrible drawer. I can't draw a circle. Even with a ruler, I can't draw a straight line.”

Daniel Radcliffe (1989) English actor

About Favorite Subject in School http://www.danradcliffe.com/index.php?option=com_content&view=article&id=23&Itemid=28

Love, Science, Drawing

“Ruskin's much-derided moral theory of art was part of an attempt to show that this human activity, which we value so highly, engaged the whole of human personality. His insistence on the sanctity of nature was part of an attempt to develop Goethe's intuition that form cannot be put together in the mind by an additive process, but is to be deduced from the laws of growth in living organisms, and their resistance to the elements.”

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

Section 3: A Note on Ruskin's Writings on Art and Architecture
Ruskin Today (1964)

Law, Nature, Parting, Personality

“Basically, at this time, I viewed any work of art as an imposition of another persons taste and saw the individual making this imposition as a kind of dictator.”

Henry Flynt (1940) American musician

Henry Flynt talks to Stewart Home, New York 8 March 1989

Time, Personality

“Sometimes I think the worst thing is the current 'worldliness' of the whole [art] scene. It is the most deceptive, corrupting, transient thing, full of kicks and fun but so little to do with what it's all really about.... It has to do with our time, a desperate pact about the power of immediate-in-ness. But I feel less and less concerned with this as an issue. So what? No threat.”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 38

Feeling, Thinking, Time

“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

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

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Love, Happiness, Optimism, Reality

“The essence of our nature is to give birth, not to destroy. To create. We see this in the love of mother and child and in the love of artist for his or her art. The dilemma is that the very powers we possess for creativity can just as easily become employed to destroy with.”

Matthew Fox (priest) (1940) priest and theologian

Creativity (New York: Penguin, 2002), ch. one.

Love, Birth, Nature

“Making… an art out of your technological life is the way to solve the problem of technology.”

Robert M. Pirsig (1928–2017) American writer and philosopher

NPR Interview (1974)

Life, Way, Problem

“The critic does not pass judgment on the work; rather, art itself passes judgment, either by taking up the work in the medium of criticism or by rejecting it and thereby appraising it as beneath all criticism.”

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

Source: The Concept of Criticism in German Romanticism (1919), p. 161

“The charge that Luther adapted the translation to his theological opinions has become traditional in the Roman Church, and is repeated again and again by her controversialists and historians.
In both cases, the charge has some foundation, but no more than the counter-charge which may be brought against Roman Catholic Versions.
The most important example of dogmatic influence in Luther's version is the famous interpolation of the word alone in Rom. 3:28 (allein durch den Glauben), by which he intended to emphasize his solifidian doctrine of justification, on the plea that the German idiom required the insertion for the sake of clearness. But he thereby brought Paul into direct verbal conflict with James, who says (James 2:24), "by works a man is justified, and not only by faith" ("nicht durch den Glauben allein"). It is well known that Luther deemed it impossible to harmonize the two apostles in this article, and characterized the Epistle of James as an "epistle of straw," because it had no evangelical character ("keine evangelische Art").
He therefore insisted on this insertion in spite of all outcry against it. His defense is very characteristic. "If your papist," he says,
The Protestant and anti-Romish character of Luther's New Testament is undeniable in his prefaces, his discrimination between chief books and less important books, his change of the traditional order, and his unfavorable judgments on James, Hebrews, and Revelation. It is still more apparent in his marginal notes, especially on the Pauline Epistles, where he emphasizes throughout the difference between the law and the gospel, and the doctrine of justification by faith alone; and on the Apocalypse, where he finds the papacy in the beast from the abyss (Rev. 13), and in the Babylonian harlot (Rev. 17). The anti-papal explanation of the Apocalypse became for a long time almost traditional in Protestant commentaries.
There is, however, a gradual progress in translation, which goes hand in hand with the progress of the understanding of the Bible. Jerome's Vulgate is an advance upon the Itala, both in accuracy and Latinity; the Protestant Versions of the sixteenth century are an advance upon the Vulgate, in spirit and in idiomatic reproduction; the revisions of the nineteenth century are an advance upon the versions of the sixteenth, in philological and historical accuracy and consistency. A future generation will make a still nearer approach to the original text in its purity and integrity. If the Holy Spirit of God shall raise the Church to a higher plane of faith and love, and melt the antagonisms of human creeds into the one creed of Christ, then, and not before then, may we expect perfect versions of the oracles of God.”

Philip Schaff (1819–1893) American Calvinist theologian

How Luther's theology may have influenced his translating

Love, God, Books, Faith

“We communicate with each other to inform, to instruct, to persuade, to amuse, to annoy. Informing and instructing aim to alter the receiver's concepts, whereas persuading, amusing or annoying aim to change his preferences or feelings. In a work situation people do make jokes and enemies, and use the arts of persuasion, but much of their communication has an informal or instructional aspect.”

Brian Campbell Vickery (1918–2009) British information theorist

Source: Information Systems (1973), p. 1.

People, Feeling, Communication, Change

“"But it's been done a hundred times before!" -- As if there could be anything not done a hundred thousand times between Aristophanes and Andrew Void Webber! As if Art is the What, not the How!”

David Mitchell book Cloud Atlas

"The Ghastly Ordeal of Timothy Cavendish", p. 312 (Nook edition)
Cloud Atlas (2004)

Time

“Let us not limit the resources of nature; they are infinite, especially when reinforced by great art.”

Julien Offray de La Mettrie book Man a Machine

p, 125
Man a Machine (1747)

Nature

“The fact that creative powers come from an area of the mind that seems to be independent of the conscious will, and often emerge with a good deal of emotional disturbance in their wake, provides the chief analogy between prophecy and the arts…Some people pursue wholeness and integration, others get smashed up, and fragments are rescued from the smash of an intensity that the wholeness and integration people do not reach.”

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

"The Secular Scripture" and Other Writings on Critical Theory, 1976–1991, p. 164
"Quotes"

People

“In all base schools of art, the craftsman is dependent for his bread on originality; that is to say, on finding in himself some fragment of isolated faculty, by which his work may be distinct from that of other men. We are ready enough to take delight in our little doings, without any such stimulus; — what must be the effect of the popular applause which continually suggests that the little thing we can separately do is as excellent as it is singular; and what the effect of the bribe, held out to us through the whole of life, to produce — it being also in our peril not to produce — something different from the work of our neighbors?”

John Ruskin (1819–1900) English writer and art critic

Lecture II, section 32.
The Eagle's Nest (1872)

Life, Men, School, Dependency

“I find it hard to believe that the machine would go into the creative artist’s hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.”

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

“Night Is but a Shadow Cast by the Sun”
The Living City (1958)

Religion, Science

“You're talking to a modern, nice, affable German person and they're saying to you something like 'You know, vell, it's a critical time now for Germany within Europe, also globally, economically ve are pretty good, ve have been better. But ve are very vibrant in the theater and arts…' and all the time you'll be listening to this, you're thinking Mmm, yeah, mmm… Hitler, Hitler, Hitler, Hitler, Hitler…”

Dylan Moran (1971) Irish actor and comedian

Like, Totally (2006)

Thinking, Time, Personality

“I'm not "filled with my art". I ain't got no art. I've got only a kind of craftsman's skill, and make stories as I make biscuits or embroider underwear or wrap up packages.”

Rose Wilder Lane (1886–1968) American journalist

Letter to Guy Moyston (June 25, 1925).

“I love science, and it pains me to think that so many are terrified of the subject or feel that choosing science means you cannot also choose compassion, or the arts, or be awed by nature. Science is not meant to cure us of mystery, but to reinvent and reinvigorate it.”

Robert M. Sapolsky (1957) American endocrinologist

The Trouble With Testosterone (1997) ISBN 068483409X

Love, Pain, Feeling, Nature

“What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.”

Dana Gioia (1950) American writer

"The Anonymity of the Regional Poet: Ted Kooser" http://www.danagioia.net/essays/ekooser.htm, from Can Poetry Matter? Essays on Poetry and American Culture (1992) Essays

Life, Religion, Feeling, Game

“Where dost thou careless lie,
Buried in ease and sloth?
Knowledge that sleeps, doth die;
And this security,
It is the common moth,
That eats on wits and arts, and oft destroys them both.”

Ben Jonson (1572–1637) English writer

XXIII, An Ode, to Himself, lines 1-6
The Works of Ben Jonson, Second Folio (1640), Underwoods

Lie, Knowledge, Sleep

“I feel an inner relationship which leads from the antique tot the Gothic, especially from the early ancient art, and from the Gothic to my own feeling for form. A great simplicity of form is something marvelous. As far back as I can remember, I have tried to put the simplicity of nature into the heads that I was painting or drawing. Now I have a real sense of being able to learn from the heads of ancient sculpture..”

Paula Modersohn-Becker (1876–1907) German artist

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

Feeling, Nature, Sense, Learning

“I look at things for the art sake and the beauty sake and for the deal sake.”

Donald J. Trump (1946) 45th President of the United States of America

New York Magazine (11 July 1988), p. 24
1980s

Beauty

“The Old and New Testaments are the great code of art.”

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

Oldest source found: "The Harvard Advocate" (Vol. 102–103), p. 268
Attributed

“The question… is whether Upper Paleolithic art bears the telltale signs of Lewis-Williams' three stage neuropsychological model, and could thus be shamanistic art.”

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

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

Question

“The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man’s most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming “Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent.”

Gordon H. Clark (1902–1985) American philosopher and Calvinist theologian

“Christian Aesthetics,” The Trinity Review, May 1989.

God, Intelligence, Question, Nature

“It's not that everything needs to have substance, but when nothing does then you know we’re living in a bankrupt society, an artistically bankrupt society, and that’s not okay. I think there’s room for forms of entertainment that are very light and frivolous and fun, but when those forms of entertainment, forms of "art" if you will, become presented as something more than that, and are believed to be something more than that, then we’ve got a lot of problems.”

Davey Havok (1975) American singer

Skinnie magazine, March 2010, p. 29

Problem, Thinking, Light

“I have joined, once and for all, the ranks of the intellectual experimentalists. I can hardly bear the sound of the words "expressionism," "emotionalism," "personality," and such, because they imply the wish to express personal life, and I prefer to have no personal life. Personal art is for me a matter of spiritual indelicacy.”

Marsden Hartley (1877–1943) American artist

n.p.
1921 - 1930, Art and the Personal Life', Marsden Hartley, 1928

Life, Personality

“Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know…. Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 91-92

Feeling, Understanding, Problem, Thinking

“Economic theory, in every branch, deals with practical affairs. Its subject is human welfare, and it is never entirely dissociated from the practical question of how human welfare is to be promoted. But it is a special characteristic of the art of central banking that it deals specifically with the task of an authority directly entrusted with the promotion of human welfare. Human welfare, human motives, human behaviour supply material so baffling and elusive that many people are sceptical of the possibility of building a scientific edifice on so shifting a foundation. But however complex the material, and however imperfect the data, there is always an advantage to be gained from systematic thought.”

Ralph George Hawtrey (1879–1975) British economist

Preface
The Art of Central Banking (1932)

People, Motivation, Question

“I’m not against celebrating the differences of individuals. What I’m against is the homogeny of mankind because that’s regressive. To celebrate the differences of people is fantastic, but to blend them all together… You know, the same homosexual community that I found such compassion from, I don’t feel that camaraderie from them anymore; I don’t feel it in the social scene; I don’t feel it in the arts. That’s weird to me. Because that was the group that I learned the most from, because they were certainly the most open-minded at that time. But if I say things about the mainstreaming of homosexuals, it’s because I don’t believe in mainstreaming or special interests legislating for themselves. What has happened with gays in America is that they pander so much to the heterosexual mainstream that they’ve taken on the complexes of the heterosexual mainstream.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

People, Feeling, Communication, Learning

“There is no other language which provides answers to complex philosophical questions like epics written in Sanskrit. Be it art, literature, science or technology, people are admitting Sanskrit is most useful.”

Rajnath Singh (1951) Indian politician

On Sanskrit, as quoted in " Sanskrit Most Useful for Science, Technology, Says Union Home Minister Rajnath Singh https://www.reddit.com/r/india/comments/3i2qoh/sanskrit_most_useful_for_science_technology_says/?ref=search_posts", NDTV (23 August 2015)

People, Literature, Question, Science

“Sloan [American colleague artist who started his art by making etchings, c. 1920] not having been abroad [in contrary to Hopper himself], has seen these things with a truer and fresher eye than most... The hard early training has given to Sloan a facility and a power of invention that the pure painter seldom achieves.”

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

posthumous
Source: 'Joan Sloan' Hopper', p. 172; as quoted in Edward Hopper, Gail Levin, Bonfini Press, Switzerland 1984, p. 39

Training

“The story of a theory's failure often strikes readers as sad and unsatisfying. Since science thrives on self-correction, we who practice this most challenging of human arts do not share such a feeling. We may be unhappy if a favored hypothesis loses or chagrined if theories that we proposed prove inadequate. But refutation almost always contains positive lessons that overwhelm disappointment, even when […] no new and comprehensive theory has yet filled the void.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"The Face of Miranda", p. 496
Bully for Brontosaurus (1991)

Sadness, Disappointment, Feeling, Failure

“There are ambiguities in the art of painting but they are the ambiguities of a fine precision: the discovered fact of the image containing at the same time the reverberations of the unknown, the truly mysterious… I would take this further and add that painting is itself precise in its ideas. In the sense that the image is the idea in its purist form.* [*“The image is a principal of our knowledge. It is that from which our intellectual activity begins, not as a passing stimulus but as an enduring foundation””

Patrick Swift (1927–1983) British artist

St. Thomas Aquinas, Opus XVI]
X magazine (1959-62)

Idea, Knowledge, Sense, Time

“Tell me thy company, and I'll tell thee what thou art.”

Miguel de Cervantes (1547–1616) Spanish novelist, poet, and playwright

Source: Don Quixote de la Mancha (1605–1615), Part II (1615), Book III, Ch. 23.

“Machinery of a very beautiful kind has been contrived for copying accurately, on a reduced or an enlarged scale, both medals and statues. The Venus de Medici itself could not be justly excluded from a purely industrial exhibition, if, placed in the centre of a series diminishing on the one side to a statuette of a foot high, and increasing on the other to a figure double her own height. Such a series, though fairly introduced as an illustration of industrial art, would, indeed, itself be highly interesting to the fine arts, as exhibiting the effect of change of magnitude, when the proportions remain identical.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 52-53

Beauty, Change

“A painter who loves his art must be careful not to see too much of critics and men of letters. These gentlemen, however unconsciously, distort everything, thinking that they are explaining it—the artist's thought, sensibility, and intensions. They take away his strength, just as Delilah took away Samson's. They have no gift for nuances, and they have an instinctive aversion for everything that is beyond their reach and baffles them.”

Georges Rouault (1871–1958) French painter

Soliloques. (1944)
Quotes, 1940-1950

Love, Men, Thinking

“It remains true that Michelangelo's intensely personal use of the nude greatly altered its character. He changed it from a means of embodying ideas to a means of expressing emotions; he transformed it from the world of living to the world of becoming. And he projected his world of the imagination with such unequaled artistic power that its shadow fell on every male nude in art for three hundred and fifty years. Painters either imitated his heroic poses and proportions or they reacted against them self-consciously and sought a new repertoire of attitudes in the art of fifth-century Greece. In the nineteenth century the ghost of Michelangelo was still posing the models in art schools.”

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

Source: The Nude: A Study in Ideal Form (1951), Ch. V: Energy

World, School, Imagination, Idea

“Poetry achieves its pinnacle when it is the perfection and mastery of expression (creation, perception) as Art (arrangement).”

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

The Cosmos as a Poem (2010)

Perfection

“As part of the spring ritual of National Poetry Month, poets are symbolically dragged into the public square in order to be humiliated with the claim that their product has not achieved sufficient market penetration and must be revived by the Artificial Resuscitation Foundation (ARF) lest the art form collapse from its own incompetence, irrelevance, and as a result of the general disinterest among the broad masses of the American People. The motto of ARF's National Poetry Month is: "Poetry's not so bad, really."”

Charles Bernstein (1950) American writer

" Against National Poetry Month As Such http://www.press.uchicago.edu/Misc/Chicago/044106.html", from My Way: Speeches and Poems, 1999, University Of Chicago Press, ISBN 0226044092

People, Spring, Parting

“The greatest works of art speak to us without knowing us.”

Alain de Botton book The Consolations of Philosophy

Source: The Consolations of Philosophy (2000), Chapter V, Consolation For A Broken Heart, p. 200.

“Education is a set of analogies to a genuinely human existence, of which the arts are the model. Merely human life is of course a demonic analogy or parody of genuinely human life.”

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

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 149

Life, Education

Quotes about art page 26

Quotes about art
page 26