Quotes about art (5831 quotes, page 29)

“Politics, when it is an art and a service, not an exploitation, is about acting for an ideal through realities.”

Charles de Gaulle (1890–1970) eighteenth President of the French Republic

La politique, quand elle est un art et un service, non point une exploitation, c'est une action pour un idéal à travers des réalités.
Press conference, June 30 1955
Fifth Republic and other post-WW2
Source: "Le Général de Gaulle et la construction de l'Europe" https://books.google.co.uk/books?id=wg4ZAQAAIAAJ (1967), pg 33. note: 1950s

Reality

“In art, truth is a means to an end; in science, it is the only end.”

William Whewell (1794–1866) English philosopher & historian of science

Aphorism 25.
Philosophy of the Inductive Sciences (1840)

Truth , Science

“If you want to know what Churches were made for, come down here on some great festival of the Virgin; but come alone! That kind of knowledge cannot be taught and can seldom be shared. We are not now seeking religion; indeed, true religion generally comes unsought. We are trying only to feel gothic art. For us the world is not a schoolroom or a pulpit, but a stage, and the stage is the highest yet seen on earth. In this church the old romanesque leaps into the gothic under our eyes; of a sudden, between the portal and the shrine, the infinite rises into a new expression, always a rare and excellent miracle in thought.”

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

Mont Saint Michel and Chartres (1904)

World , Religion , Feeling , Knowledge

“A wasp in a wig is altogether beyond the appliances of art.”

John Tenniel (1820–1914) British illustrator, graphic humourist and political cartoonist

Refusing to illustrate a proposed chapter in Through the Looking-Glass, as quoted in The Life and Letters of Lewis Carroll (1898), p. 146

“Pytheos made a mistake by not observing that the arts are each composed of two things, the actual work and the theory of it. One of these, the doing of the work, is proper to men trained in the individual subject, while the other the theory is common to all scholars.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 15

Men , Training

“Industrial history shows that in modern competitive industry the motive of personal gain is most wastefully applied. On the one hand, the great mass of intelligent workers have no opportunity of securing an adequate reward for any special application of intelligence in mechanical invention or other improvement of industrial arts. Few great modern inventors have made money out of their inventions. On the other hand, the entrepreneur, with just enough business cunning to recognise the market value of an improvement, reaps a material reward which is often enormously in excess of what is economically required to induce him to apply his "business" qualities to the undertaking.”

J.A. Hobson (1858–1940) English economist, social scientist and critic of imperialism

The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development

Money , History , Intelligence , Motivation

“I am a great artist and I know it. It's because of what I am that I have endured so much suffering, so as to pursue my vocation, otherwise I would consider myself a rogue — which is what many people think I am, for that matter. Oh well, what difference does it make. What upsets me the most is not so much the poverty as the things that perpetually get in the way of my art, which I cannot carry out the way I feel and which I would carry out if it weren't for the poverty that is like a straitjacket. You tell me I am wrong to stay away from the artist[ic] center. No, I am right; I've known for a long time what I am doing and why I am doing it. My artistic center is in my brain and nowhere else, and I am strong because I am never thrown off-course by other people and because I do what is in me.”

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

Original: Je suis un grand artiste et je le sais. C'est parce que je le suis que j'ai tellement enduré de souffrances. Pour poursuivre ma voie, sinon je me considérerai comme un brigand. Ce que je suis du reste pour beaucoup de personnes. Enfin, qu'importe! Ce qui me chagrine le plus c'est moins la misère que les empêchements perpétuels à mon art que je ne puis faire comme je le sens et comme je pourais le faire sans la misère qui me lie les bras. Tu me dis que j'ai tort de rester éloigné du centre artistique. Non, j'ai raison, je sais depuis longtemps ce que je fais et pourquoi je le fais. Mon centre artistique est dans mon cerveau et pas ailleurs et je suis fort parce que je ne suis jamais dérouté par les autres et je fais ce qui est en moi.
Source: 1890s - 1910s, The Writings of a Savage (1996), pp. 53-54: Quote in a letter to his wife, Mette (Tahiti, March 1892)

People , Way , Feeling , Thinking

“Criticism is easy, and art is difficult.”

Philippe Néricault Destouches (1680–1754) French playwright

La critique est aisée, et l'art est difficile.
Glorieux, II, 5, reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 150.

“.. crushed by the strength of this Art [the old Egyptian art]... I fought against it but it conquered, it is surely the greatest Art the past has left us.... how are my feeble hands to ever paint the effect on me.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote of Cassatt, after her trip to Egypt, 1910; as cited by Nancy Mowll Mathews, in Mary Cassatt: A Life, Yale University Press, New Haven, 1998, p. 291 - ISBN 978-0-585-36794-1

Past , Painting

“A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate.”

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

Discourses on Art

Nature

“To produce pure proletarian art the artist must be at one with the worker; this is impossible, not for political reasons, but because the artist never is at one with any public.”

William Empson (1906–1984) English literary critic and poet

Some Versions of Pastoral (London: Chatto & Windus, 1935) p. 15.
Other

“Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.... already today one can safely assume that the roots of laws of composition are the same for art as they are for nature.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from: 'Analysis of the Primary Elements of Painting', W. Kandinsky, 1928
1920 - 1930

Law , Nature

“Events are weapons for politicization of art.”

Wolf Vostell (1932–1998) German painter and sculptor

Cited in: Hans Heinz Holz (1972). Vom Kunstwerk zur Ware: Studien zur Funktion des ästhetischen Gegenstandes im Spätkapitalismus. p. 204
Original: Ereignisse sind Waffen zur Politisierung der Kunst.

“.. and wanting to force nature to say things, making trees twist and rocks frown, as Gustave Doré does, or even painting it like Leornardo da Vinci, that's literature too. There's logic of colour, damn it all! The painter owes allegiance to that alone. Never to the logic of the brain; if he abandons himself to that logic, he's lost... Painting is first and foremost an optical affair. The stuff of our art is there, in what our eyes are thinking... If you respect nature, it will always unravel its meaning for you.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 161, in: 'What he told me – I. The motif'

Literature , Nature , Thinking , Tree

“Art is an expression and stimulus to the imaginative life rather than a copy of actual life. Art appreciates emotion in and for itself. The artist, is the most constantly observant of his surroundings and the least affected by their intrinsic aesthetic value. As he contemplates a particular field of vision the aesthetically chaotic and accidental conjunction of forms and colours begin to crystallize into a harmony.”

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

An essay on aesthetics (1909) from Vision and design by Roger fry, Forgotten Books , 2012
Art Quotes

Life , Imagination

“Are there not many Arts which, though speechless, express their meanings with perfect adequacy, with satisfaction to the recipient, and serve at the same time as a medium of communication between soul and soul?”

L. P. Jacks (1860–1955) British educator, philosopher, and Unitarian minister

The Usurpation Of Language (1910)

Soul , Communication , Time , Perfection

“.. I want a lovely life; in order for it to be, harmony and style are necessary. I avow mine to the key of aesthetic sentiment – the constant permanent creation everywhere and in every one. All is false there, all is true. The truth is the desire to see falsely. I do not want the naked truth; it is the principle of my life. It is that which makes my life one which is artistic and complete. Feelings, events, people and things, such as they are, are nothing to me. I wish them invented, illusory, false in so far as true life and in so far as art.”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Love , Life , People , Truth

“A few months ago I read an interview with a critic; a well-known critic; an unusually humane and intelligent critic. The interviewer had just said that the critic “sounded like a happy man”, and the interview was drawing to a close; the critic said, ending it all: “I read, but I don’t get any time to read at whim. All the reading I do is in order to write or teach, and I resent it. We have no TV, and I don’t listen to the radio or records, or go to art galleries or the theater. I’m a completely negative personality.”
As I thought of that busy, artless life—no records, no paintings, no plays, no books except those you lecture on or write articles about—I was so depressed that I went back over the interview looking for some bright spot, and I found it, one beautiful sentence: for a moment I had left the gray, dutiful world of the professional critic, and was back in the sunlight and shadow, the unconsidered joys, the unreasoned sorrows, of ordinary readers and writers, amateurishly reading and writing “at whim”. The critic said that once a year he read Kim, it was plain, at whim: not to teach, not to criticize, just for love—he read it, as Kipling wrote it, just because he liked to, wanted to, couldn’t help himself. To him it wasn’t a means to a lecture or an article, it was an end; he read it not for anything he could get out of it, but for itself. And isn’t this what the work of art demands of us? The work of art, Rilke said, says to us always: You must change your life. It demands of us that we too see things as ends, not as means—that we too know them and love them for their own sake. This change is beyond us, perhaps, during the active, greedy, and powerful hours of our lives, but during the contemplative and sympathetic hours of our reading, our listening, our looking, it is surely within our power, if we choose to make it so, if we choose to let one part of our nature follow its natural desires. So I say to you, for a closing sentence: Read at whim! read at whim!”

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

“Poets, Critics, and Readers”, pp. 112–113
A Sad Heart at the Supermarket: Essays & Fables (1962)

Love , Life , Books , World

“To learn by example is to submit to authority. …By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another. A society which wants to preserve a fund of personal knowledge must submit to tradition. …Common Law …is the most important system of strictly traditional activities.”

Michael Polanyi (1891–1976) Hungarian-British polymath

Source: Personal Knowledge (1958), pp. 53-54

Law , Knowledge , Effort , Learning

“Up climb’d the sweet pea,
The butterfly of flowers:—I love it not,
Though every hue—and it has many tints—
Are dyed as if the sunset evening clouds
Had fallen to the earth in sudden rain,
And left their colours : purple, delicate pink,
And snowy white, are on thy wing-like leaves;
But thou art all too forward in thy bloom;
Thy blossoms are the sun’s, and cling to all
That can support them into open day:
And then they die, leaving no root behind,
The hope and promise of another spring;
And no perfume, whose lingering gratitude
Remains round what upheld its summer’s life.”

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

The Last of the St. Aubyns
Heath's book of Beauty, 1833 (1832)

Love , Life , Hope , Spring

“Poetry, finally, is the form of art where not only are the unities of time, place, and action freed from the restrictive bounds of the single instant, the single spot, the single simple transaction, but the medium of embodiment is thought itself, with its completely articulate utterance in language. Here the very source of the ideal view of the world, the very origin of the creative artistic impulse, becomes the material and the instrument of its own purpose, the executor of its own will. The scope of the creative faculty is therefore the utmost conceivable, and poetry rightfully takes the highest place as the art of the greatest possibilities — the art, indeed, of an all-inclusive compass, as at length completely self-supplying and self-directing.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.210

World , Time

“Undoubtedly the best language for the expression of this ‘unfathomable’ quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable’ by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann’s creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Lie , Music , Way , Feeling

“… There's a machine which is called History of Art, which is a structure. And artist fits in this only because he or she is needed for this structure. If for example the History of Art needs some parallel lines, there is an individual who makes parallel lines. And this individual fits into this machine which works by itself; it doesn't care about people or anything else, it just goes by itself.”

Alexander Melamid (1945) Russian artist

Quoted in: Francis Halsall, Systems of Art: Art, History and Systems Theory, (2008) p. 67.
The search for a people's art: painting by the numbers, 1994

People , History

“Folk-art signifies the poetical, musical and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialised.”

Arnold Hauser (1892–1978) Hungarian art historian

Arnold Hauser, cited in: Bihar Tribal Research Institute (1961). Bulletin of the Bihar Tribal Research Institute. Vol. 3-4, p. 144

Music

“The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real."
If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Cahiers du Cinema (1960)

Way , Imagination , Reality

“Great art is the contempt of a great man for small art.”

F. Scott Fitzgerald (1896–1940) American novelist and screenwriter

Notebook L (1945) edited by Edmund Wilson
Quoted, Notebooks

Funny

“to study the nude, the foundation of all pictorial art, in total freedom and naturalness. From.... this basis there emerged the feeling, shared by all, of taking creative stimulus from life itself and submitting to the decisive experience.”

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

Kirchner, in 'Chronik KG Brücke', 1913; a quoted by Wolf-Dieter Dube, Der Expressionismus in Wort und Bild (Genf and Stuttgart: Skira, Klett-Cotta, 1983), p. 34; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 68
1905 - 1915

Life , Feeling , Nature , Decision

“From the way of Go, the beauty of Japan and the Orient had fled. Everything had become science and regulation. The road to advancement in rank, which controlled the life of a player, had become a meticulous point system. One conducted the battle only to win, and there was no margin for remembering the dignity and the fragrance of Go as an art.”

Yasunari Kawabata book The Master of Go

Source: The Master of Go (1951), Ch. 12, p. 52.

Life , Beauty , Way , Science

“Arts have died in Europe, what we see now in the name of art are the pieces of those artists who are already dead. There is no living art. We, as Turkey, should start a lively, fresh understanding of art.”

Harun Yahya (1956) Turkish author

23 June 2013.
A9 TV addresses, 2013

Understanding , Dead

“Protocols:
Number 10, paras. 6,7
A scheme of government should come ready made from one brain, because it will never be clinched firmly if it is allowed to split into fractional parts in the minds of many. It is allowable, therefore, for us to have cognizance of the scheme of action but not to discuss it lest we disturb its artfulness, and interdependence of its component parts, the practical force of the secret meaning of each clause. To discuss and make alteration in a labor of this kind by means of numerous votings is to impress upon it the stamp of all ratiocinations and misunderstandings which have failed to penetrate the depth and nexus of its plottings….
These schemes will not turn existing institutions upside down just yet, They will only effect changes in their economy and consequently in the whole combined movement of their progress, which will thus be directed along the paths laid down in our schemes.”

Will Eisner (1917–2005) American cartoonist

The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

Secret , Change , Parting

“Traditionally there's this barrier between the people who make movies and the people who watch them, and I think it sucks. Making Hollywood this castle on a hill and crowning actors the "Stars" might have been exciting and even brought people together last century, but now it's grown kind of disgusting in its excesses and it's no longer bringing people together—it's keeping people apart. It always turns my stomach a little when, because I'm in movies and on TV, people sometimes treat me as if I'm somehow different from, even above, a normal person. But the emails, posts, and comments I've been trading recently with people through those aforementioned sites cause me no nausea; they inspire me. There's no nasty status predicated on "Fame" or "Fortune."”

Joseph Gordon-Levitt (1981) American actor, director, producer, and writer

There's just that beautiful thing, the point of all art in the first place: a connection between one individual and another.
April 6, 2006 http://hitrecord.org/Journal-2006-04-06.html

People , Beauty , Star , Thinking

“We shall not set up demands nor programmes, but simply describe the child-nature. (…) Vague and general phrases — ‘the harmonious development of all the powers and talents in the child,’ and so forth — cannot provide the basis for a genuine art of education. Such an art of education can only be built up on a real knowledge of the human being. Not that these phrases are incorrect, but that at bottom they are as useless as it would be to say of a machine that all its parts must be brought harmoniously into action. To work a machine you must approach it, not with phrases and truisms, but with real and detailed knowledge.”

Rudolf Steiner (1861–1925) Austrian esotericist

The Education of the Child in the Light of Anthroposophy (GA 34), an essay of 1909.

Education , Nature , Knowledge , Parting

“The complete and definitive work of art is created beyond one's individuality... The universal transcends such a level. Mere spontaneity has never created a work of art which possesses a lasting cultural value. The method leading to universal form is based upon calculations of measure and number.”

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

Quote in his article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Universe

“For all the sublimity of art, physics, music, mathematics, and other manifestations of human genius, everything depends on the mundane, frustrating, often debased vocation known as politics (and its most exacting subspecialty — statecraft). Because if we don't get politics right, everything else risks extinction.”

Charles Krauthammer (1950–2018) American journalist

2010s, 2011, Are we alone in the universe? (2011)

Music , Mathematics , Dependency

“Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.”

George Steiner (1929–2020) American writer

Source: Tolstoy or Dostoevsky (1960), Ch. 1.

Love , Imagination , Painting , Housing

“Twas now the month in which the world began
(If March beheld the first created man):
And since the vernal equinox, the Sun,
In Aries, twelve degrees, or more, had run;
When casting up his eyes against the light,
Both month, and day, and hour, he measur'd right;
And told more truly than th' Ephemeris:
For Art may err, but Nature cannot miss.
Thus numbering times and seasons in his breast,
His second crowing the third hour confess'd.”

John Dryden book Fables, Ancient and Modern

The Cock and the Fox line 445 - 457.
Fables, Ancient and Modern (1700)

World , Nature , Light , Time

“Art and politics must move closer together. Reflection and action must be equally valid in good men if history is not to take one course and art an other.”

William Saroyan (1908–1981) American writer

Something About a Soldier (1940)

Men , History

“Women have everything to do with bringing culture into everyday life, with the expression of it, with the helping and influencing of a nation, not only because they are mothers but also because they themselves are an example as individuals. The modern world needs a new force for the revitalizing of its ideals. India’s art has always been unconscious, unconscious of its own beauty, unconscious of others’ admiration, unconscious of the physical though expressed in Form. India is now beginning to be conscious and we do not know how to express ourselves consciously. A great dancer’s art must depend first on the life he or she expresses, secondly upon the beauty of technique and lastly only, upon its arrangement, costume, and presentation…. Though form, technique and skill are essential, great Art must have the impetus of genius, and inspiration. Then there is permanency.”

Rukmini Devi Arundale (1904–1986) Indian Bharatnatyam dancer

pdf, A Century of Negotiations: The Changing Sphere of the Woman Dancer in India, 1 December 2013, Performancestudies.ucla.edu, 15-16 http://www.performancestudies.ucla.edu/downloads/SarkarNegotiation.pdf.,

Life , Women , World , Beauty

“For the notion of progress in the arts, (either spiritually or artistically) has been discredited by many respectable intellects (Kierkegaard and Baudelaire above all, both of whom encountered the idea when it first reared itself in its present form in Europe).”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)

Idea

“Visiting a museum is a matter of going from void to void. Hallways lead the viewer to things once called 'pictures' and 'statues." Anachronisms hang and protrude from every angle. Themes without meaning press on the eye. Multifarious nothings permute into false windows (frames) that open up into a variety of blanks. Stale images cancel one's perception and deviate one's motivation. Blind and senseless, one continues wandering around the remains of Europe, only to end in that massive deception 'the art history of the recent past'”

Robert Smithson (1938–1973) American artist

Smithson, Robert. " Some void thoughts on museums http://www.robertsmithson.com/essays/void.htm." Flam, Robert Smithson 42 (1996).

History , Motivation , Past , Falseness

“I obey nature, I never presume to command her. The first principal in art is to copy what one sees.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Nature

“All spiritual strength for ourselves, all noble ties to one another, have their real source in that inner sanctuary where God denies His lonely audience to none. Its secrets are holy; its asylum, inviolate; its consolations, sure; and all are open to the simple heart-word, "Thou art my hiding-place."”

James Martineau (1805–1900) English religious philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 281.

God , Secret , Heart

“I made my examination in Berlin in 1915. And I must say also that Berlin was for me in another way very important. At the time there were all these new movements – 'Die Brücke'…… the 'Der Blaue Reiter', Walden of the 'Storm' Gallery. Then Kassierer who bought the Chagalls, the first Chagall's that were ever seen in Europe were there. And there was 'Die Brücke'. Rottluff, Heckel, and Kirchner. You know we saw all that. Which was good. You see, Kassierer was then the man who bought the modern French painters. He had particularly Degas who I consider still today a very good painter, one of the best. But, anyway, in spite of my teaching my art was my concern. On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich… So for the first time I saw the old masters, Rubens and all at the Alte Pinakothek.”

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

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

Money , Way , Time

“My heart beats more for a rougher, more ordinary, more vulgar art that does not live in a poetic, fairy-tale dream but admits the fearful, the common, the magnificent, the ordinary, the banal grotesque in life. An art that can always be directly present to us when life is at its most real.. [ on the same day he noted:].. Martin thinks there will be a war. Russia England France against Germany. We agreed that it would be no bad thing for our rather demoralized present-day civilization if everyone's instincts and drives were to be harnessed to one cause..”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Beckmann's Diary, 9 January, 1909, in Leben in Berlin: Tagebuch, 1908-1909, ed. Hans Kinkel; R. Piper & Co., Munich and Zurich, 1983, pp. 22-23; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 99
1900s - 1920s

Life , War , Fear , Dreams

“I bear witness that Thou art the Most Manifest, the Omnipotent, the Ever-Abiding; that of all things that exist on earth and in the heavens nothing whatsoever can frustrate Thy purpose and that Thou art the Knower of all things and the Lord of might and majesty.”

Báb (1819–1850) Iranian prophet; founder of the religion Bábism; venerated in the Bahá'í Faith

Tablet to ‘Him Who Will Be Made Manifest’

“The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"The Art of Fiction: An Interview" (The Paris Review, Spring 1955), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 217.

Life , Understanding , Knowledge , Dependency

“There’s obviously always danger in making music or art for art’s sake. Even as Christians we can be guilty of that, being more about the art than the Artist who gave us this gift.”

Steven Curtis Chapman (1962) American Christian music singer-songwriter, record producer, actor, author, and social activist

Press conference after 2007 GMA Music Awards http://video.google.com/videoplay?docid=-5378840845486744543&q=steven+curtis+chapman

Music

“Slayer of the Winter, art thou here again?
O welcome, thou that bring'st the Summer nigh!
The bitter wind makes not thy victory vain,
Nor will we mock thee for thy faint blue sky.”

William Morris (1834–1896) author, designer, and craftsman

"March".
The Earthly Paradise (1868-70)

Winter , Victory , Summer

“Art is a universal language, a mighty bridge that transcends religiosity. It is embraced and appreciated not by adherents, devotees, believers, or converts of any certain sort, but by members of the religion that is Love.”

Lydia Canaan Lebanese singer-songwriter

From Diplomacy and Art http://diplomatartist.com/diplomacy-art/, a contributer article for Diplomat Artist, October 10, 2015

Love , Religion , Universe

“Life-affirming people are a bit creepy and self-consciously life-affirming art is usually awful.
My books tend to have happy endings, or at least that’s one way of reading them. My characters are exuberant and funny as well as dark. Duality is the essence of my voice so it’s appropriate for me to have an evil twin to blame things on.”

Carole Morin British writer

Chin Wag At The Slaughterhouse (2013)

Life , People , Books , Way

“I've never claimed that this is investment art. When we first started out, all the art colleges and universities across the country would sort of badmouth what we were doing. It's funny that a lot of them now are sending us letters saying, 'We may not totally agree with the way you paint, but we appreciate what you're doing, because you're sending literally thousands of people into art colleges.”

Bob Ross (1942–1995) American painter, art instructor, and television host

(1990) reported in Associated Press (July 7, 1995) "Bob Ross, Painting Instructor to Millions, Dead at 52".

People , Way , Universe , Painting

“I came to Paris with all my ideas of art fixed, and I have never found it necessary to change them. I have been more or less in love with this master, or that method in art, but I have not modified any fundamental opinions. You have seen my first drawing, made at home without a master, without a model, without a guide. I have never done anything different since. You have never seen me paint except in a low tone; demi-teinte [half-tone] is necessary to me in order to sharpen my eyes and clear my thoughts, - it has been my best teacher.”

Jean-François Millet (1814–1875) French painter

Millet is describing his development as artist to his friend and later biographer fr:Alfred_Sensier
Source: Jean-Francois Millet – Peasant and Painter, 1881, p. 44

Love , Home , Idea , Teachers

“There is no unity or organisation or even aesthetic unity [in Abstract Expressionism / w:New York School (art), but we do have a very strong bond in our defense, but we also are strongest in our own individual identity. Our effort, I think, is all shooting off in independent directions. And the artists themselves will not admit to the existence of the New York School. They won't admit to any classification, and most of those painters known as Abstract Expressionists are the first to say they are not.”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 12
1960s

School , Thinking , Effort , Strong

“Art indeed is long, but life is short.”

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

Upon the Death of Lord Hastings (1649), last line
Variant: "Art is long, and time is fleeting." Henry Wadsworth Longfellow, A Psalm of Life (1839).

Life

“To me, therefore, that Thracian Orpheus, that Theban, and that Methymnaean,--men, and yet unworthy of the name,--seem to have been deceivers, who, under the pretence of poetry corrupting human life, possessed by a spirit of artful sorcery for purposes of destruction, celebrating crimes in their orgies, and making human woes the materials of religious worship, were the first to entice men to idols; nay, to build up the stupidity of the nations with blocks of wood and stone,--that is, statues and images,--subjecting to the yoke of extremest bondage the truly noble freedom of those who lived as free citizens under heaven by their songs and incantations. But not such is my song, which has come to loose, and that speedily, the bitter bondage of tyrannizing demons; and leading us back to the mild and loving yoke of piety, recalls to heaven those that had been cast prostrate to the earth. It alone has tamed men, the most intractable of animals; the frivolous among them answering to the fowls of the air, deceivers to reptiles, the irascible to lions, the voluptuous to swine, the rapacious to wolves. The silly are stocks and stones, and still more senseless than stones is a man who is steeped in ignorance. As our witness, let us adduce the voice of prophecy accordant with truth, and bewailing those who are crushed in ignorance and folly: "For God is able of these stones to raise up children to Abraham;" and He, commiserating their great ignorance and hardness of heart who are petrified against the truth, has raised up a seed of piety, sensitive to virtue, of those stones--of the nations, that is, who trusted in stones. Again, therefore, some venomous and false hypocrites, who plotted against righteousness, he once called "a brood of vipers."”

Clement of Alexandria (150–215) Christian theologian

But if one of those serpents even is willing to repent, and follows the Word, he becomes a man of God.
Exhortation to the Heathen

Love , Life , Men , God

“Still to be powder'd, still perfum'd,
Lady, it is to be presum'd,
Though art's hid causes are not found,
All is not sweet, all is not sound.
Give me a look, give me a face,
That makes simplicity a grace;
Robes loosely flowing, hair as free,
Such sweet neglect more taketh me
Than all the adulteries of art:
They strike mine eyes, but not my heart.”

Ben Jonson (1572–1637) English writer

Epicene, or The Silent Woman (1609), Act I, scene i

Heart

“I think of myself as an American artist: I like it here... I feel I represent the U. S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U. S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though.”

Andy Warhol (1928–1987) American artist

Quote of Warhol in Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

Way , Feeling , Thinking , Painting

“What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment. It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.”

Peter Greenaway (1942) British film director

From an interview in Art and Design, no. 49
Interviews

History , Sense

“… In elegant remoteness, she arrives like a work of high art, and you may well desire to edge ever closer, seeking flaws in the maker's hand, but the closer you get, the more she blurs before your eyes.”

Steven Erikson book Forge of Darkness

Forge of Darkness (2013)

“Some students of philosophy have unreasonably high expectations of the subject. They expect it to provide them with a complete and detailed picture of the human predicament. They think that philosophy will reveal to them the meaning of life, and explain to them every facet of our complex existences. Now, although studying philosophy can illuminate fundamental questions about our lives, it does not provide anything like a complete picture, if indeed there could be such a thing. Studying philosophy isn’t an alternative to studying art, literature, history, psychology, anthropology, sociology, politics, and science.”

Nigel Warburton (1962) British author and lecturer

Philosophy : the basics (Fifth Edition, 2013), Introduction

Life , History , Literature , Question

“Today's novelist is not only limited by the thin subject matter of personal experience, but by the pinched clinical conventions of the Health generation. Faced with Othello, say, he would have to divide the man into departments, like a liberal arts course. Race relations — that's still a subject, although of course whites can't write about blacks and vice versa; sexual politics (somehow); Othello's ultimate therapy and decision to endure. Since jealousy is now curable, like TB, we can't have people dying of it anymore. A few rap sessions, some fearless touching, and a new sense of self-worth would have Othello and Iago and Hamlet and Juliet back on their feet in no time; and Fiction struggling.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"A Moral Problem" (1974), p. 88
The Good Word & Other Words (1978)

People , Health , Jealousy , Decision

“In fact, my art generally nauseated me. Often, when I wanted to set down a poem on an uncontaminated piece of paper, I′d start feeling sick and I did actually throw up in front of many drawings. I tremble all over in front of each picture-poem and before every action I would swallow a jar of pressed vine vermin. Time and again I strove for a kind of non-art, and time and again I failed, like a chimpanzee wanting to throw away a banana without peeling it. My disgust at producing art naturally atracted collectors, and ocassionaly photographers.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 238 (2002)

Feeling , Nature , Time , Drawing

“Having acknowledged the measure of the good to be pleasure, i. e., beauty, the European upper classes went back in their comprehension of art to the gross conception of the primitive Greeks which Plato had already condemned. And with this understanding of life, a theory of art was formulated.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

Life , Pleasure , Beauty , Understanding

“Made poetry a mere mechanic art.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Table Talk (1782), Line 654.

“Meet your own self. Be with your own self, listen to it, obey it, cherish it, keep it in mind ceaselessly. You need no other guide. As long as your urge for truth affects your daily life, all is well with you. Live your life without hurting anybody. Harmlessness is a most powerful form of Yoga and will take you speedily to your goal. This is what I call nisarga yoga, the Natural Yoga. It is the art of living in peace and harmony, in friendliness and love. The fruit of it is happiness, uncaused and endless.”

Nisargadatta Maharaj (1897–1981) Indian guru

Nisarga Yoga
Source: I am That, P.173.

Love , Life , Truth , Peace

“Maybe those inclined towards the arts are so spiritually retarded to a degree that we must go through the whole process of cathartic expression just to discover how we really feel.”

Mark Heard (1951–1992) American musician and record producer

Life in the Industry: A Musician's Diary

Feeling

“In the war [World War 1. ] things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready... I felt myself freed and had to shout my jubilation out to the world. Out of parsimony I took what I could find to do this, because we were now an impoverished country. One can even shout with refuse, and this is what I did, nailing and gluing it [gluing his collage art] together. I called it 'Merz'; it was a prayer about the victorious end of the war, victorious as once again peace had won in the end; everything had broken down in any case and new things had to be made out of the fragments; and this is Merz.”

Kurt Schwitters (1887–1948) German artist

quote, 1930
As quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973 – 1981, Vol. 5, p. 335.
1930s

War , World , Peace , Quotes

“I think art is the only political power, the only revolutionary power, the only evolutionary power, the only power to free humankind form all repression. I say not that art has already realized this, on the contrary, and because it has not, it has to be developed as a weapon, at first there are radical levels, then you can speak about special details.”

Joseph Beuys (1921–1986) German visual artist

Quoted in: Robert C. Morgan (1978). The Role of Documentation in Conceptual Art: : An Aesthetic Inquiry. p. 176.
1970's, I Am Searching For Field Character,' 1973/74

Thinking

“Mastering an art is like reaching the top of the passion mountain…. at the top the passion dies out! So keep learning.”

Siddharth Katragadda (1972) Indian writer

page 8
The Other Wife (2003)

Mountain , Learning , Passion

“Last year I asked too much of my strength. I can't go on like this. it was not possible for me, I had to step back, I didn't make anything but stones [about his paintings? ] … They wanted to see beautiful paintings but I still couldn't make them, one illusion disappears for the other. I have made Cold reality, and I have made Truth. Is there a truth, also the cold reality is a truth. What exists between them was [only] baroque convention. I threw away everything in the stove... I am messing up my time with them; what is nothing more than material is no art to me; I could not bring it out..”

Matthijs Maris (1839–1917) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Ik heb verleden jaar een beetje te veel van mijn krachten gevergd, ik kan dat niet volhouden, het was mij niet mogelijk, ik moest weder terug, ik heb niets zitten maken als steenen [over zijn schilderijen?].. .Zij hebben van mij mooie schilderijen willen zien en ik heb ze nog niet kunnen maken, de eene illusie verdwijnt voor de andere, ik heb de koude werkelijkheid gemaakt, en ik heb de Waarheid gemaakt. Is er een waarheid, de koude werkelijkheid is ook een waarheid. Wat daartusschen ligt was baroque conventie. Ik heb alles in de kachel gestopt.. ..ik zit er mijn tijd op te verknoeien; wat materieel is, is voor mij geen kunst. Ik heb die er niet uit kunnen brengen.
in a letter to E. Goossens van Eijndhoven, c. 1886, published in Onze Kunst, 1918, p. 136; as cited in 'Matthijs Maris' in Palet serie; een reeks monografieën over Hollandsche en Vlaamsche schilders https://archive.org/details/paletserieeenree4amstuoft, dr. H. E. v. Gelder; H. J. W. Becht, Amsterdam, pp. 13-14
Matthijs was that year painting his famous work 'The Bride, or Novice taking the Veil / De Kerkbruid' https://en.wikiquote.org/wiki/Matthijs_Maris#/media/File:Matthijs_Maris_The_Bride,_or_Novice_taking_the_Veil,_c_1887.jpg

Truth , Beauty , Reality , Time

“The art of representing the human figure in the ancient world begins and ends with ‘frontality’.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome

World

“We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole... But we may as well calm down: construction is not absolute. Our virtue is this: by cultivating the exact we have laid the foundations for a science of art, including the unknown X.”

Paul Klee (1879–1940) German Swiss painter

Statement of 1917; as quoted in Teaching at the Bauhaus (2000) by Rainer Wick and Gabriele Diana Grawe, p. 231
1916 - 1920

Science

“Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible.”

Donald Judd (1928–1994) artist

1990s
Source: Artforum International. Vol. 32 (1994), p. 38

Color , Nature

“I wish to guard the Principle of Vision from certain misconceptions which might arise on a simple statement of it. The principle insists on the artist assuring himself that he distinctly sees what he attempts to represent. What he sees, and how he represents it, depend on other principles. To make even this principle of Vision thoroughly intelligible in its application to all forms of Literature and Art, it must be considered in connection with the two other principles — Sincerity and Beauty, which are involved in all successful works.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

Beauty , Intelligence , Literature , Success

“Th' adorning thee with so much art
Is but a barb'rous skill;
'T is like the pois'ning of a dart,
Too apt before to kill.”

Abraham Cowley (1618–1667) British writer

The Waiting Maid; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

“I'm done with girls on rocks! I've painted them for thirteen years and I could paint them and sell them for thirteen more. That's the peril of the commercial art game. It tempts a man to repeat himself. it's an awful thing to get to be a rubber stamp. I'm quitting my rut now while I'm still able.”

Maxfield Parrish (1870–1966) American painter and illustrator

"Maxfield Parrish Will Discard 'Girl-on-Rock' Idea in Art" Associated Press (27 April 1931)

Girl , Game , Painting

“Mathematics is the fruitful Parent of, I had almost said all, Arts, the unshaken Foundation of Sciences, and the plentiful Fountain of Advantage to Human Affairs. In which last Respect, we may be said to receive from the Mathematics, the principal Delights of Life, Securities of Health, Increase of Fortune, and Conveniences of Labour: That we dwell elegantly and commodiously, build decent Houses for ourselves, erect stately Temples to God, and leave wonderful Monuments to Posterity: That we are protected by those Rampires from the Incursions of the Enemy; rightly use Arms, skillfully range an Army, and manage War by Art, and not by the Madness of wild Beasts: That we have safe Traffick through the deceitful Billows, pass in a direct Road through the tractless Ways of the Sea, and come to the designed Ports by the uncertain Impulse of the Winds: That we rightly cast up our Accounts, do Business expeditiously, dispose, tabulate, and calculate scattered 248 Ranks of Numbers, and easily compute them, though expressive of huge Heaps of Sand, nay immense Hills of Atoms: That we make pacifick Separations of the Bounds of Lands, examine the Moments of Weights in an equal Balance, and distribute every one his own by a just Measure: That with a light Touch we thrust forward vast Bodies which way we will, and stop a huge Resistance with a very small Force: That we accurately delineate the Face of this Earthly Orb, and subject the Oeconomy of the Universe to our Sight: That we aptly digest the flowing Series of Time, distinguish what is acted by due Intervals, rightly account and discern the various Returns of the Seasons, the stated Periods of Years and Months, the alternate Increments of Days and Nights, the doubtful Limits of Light and Shadow, and the exact Differences of Hours and Minutes: That we derive the subtle Virtue of the Solar Rays to our Uses, infinitely extend the Sphere of Sight, enlarge the near Appearances of Things, bring to Hand Things remote, discover Things hidden, search Nature out of her Concealments, and unfold her dark Mysteries: That we delight our Eyes with beautiful Images, cunningly imitate the Devices and portray the Works of Nature; imitate did I say? nay excel, while we form to ourselves Things not in being, exhibit Things absent, and represent Things past: That we recreate our Minds and delight our Ears with melodious Sounds, attemperate the inconstant Undulations of the Air to musical Tunes, add a pleasant Voice to a sapless Log and draw a sweet Eloquence from a rigid Metal; celebrate our Maker with an harmonious Praise, and not unaptly imitate the blessed Choirs of Heaven: That we approach and examine the inaccessible Seats of the Clouds, the distant Tracts of Land, unfrequented Paths of the Sea; lofty Tops of the Mountains, low Bottoms of the Valleys, and deep Gulphs of the Ocean: That in Heart we advance to the Saints themselves above, yea draw them to us, scale the etherial Towers, freely range through the celestial Fields, measure the Magnitudes, and determine the Interstices of the Stars, prescribe inviolable Laws to the Heavens themselves, and confine the wandering Circuits of the Stars within fixed Bounds: Lastly, that we comprehend the vast Fabrick of the Universe, admire and contemplate the wonderful Beauty of the Divine 249 Workmanship, and to learn the incredible Force and Sagacity of our own Minds, by certain Experiments, and to acknowledge the Blessings of Heaven with pious Affection.”

Isaac Barrow (1630–1677) English Christian theologian, and mathematician

Source: Mathematical Lectures (1734), p. 27-30

Life , God , War , Health

“The goal, the pursuit of art is to move, like music does; to create sensations in our mind..”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

1880's

Music

“Actually, art and magic are pretty much synonymous. I would imagine that this all goes back to the phenomenon of representation, when, in our primordial past, some genius or other actually flirted upon the winning formula of “This means that.” Whether “this” was a voice or “that” was a mark upon a dry wall or “that” was a guttural sound, it was that moment of representation. That actually transformed us from what we were into what we would be. It gave us the possibility, all of a sudden, of language. And when you have language, you can describe pictorially or verbally the strange and mystifying world that you see around you, and it’s probably not long before you also realize that, hey, you can just make stuff up. The central art of enchantment is weaving a web of words around somebody. And we would’ve noticed very early on that the words we are listening to alter our consciousness, and using the way they can transform it, take it to places we’ve never dreamed of, places that don’t exist.”

Alan Moore (1953) English writer primarily known for his work in comic books

The Believer interview (2013)

World , Dreams , Way , Imagination

“The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.”

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

Source: Art on the Edge, (1975), p. 137, "Criticism and Its Premises"

Time , Past

“As art sinks into paralysis, artists multiply. This anomaly ceases to be one if we realize that art, on its way to exhaustion, has become both impossible and easy.”

Emil M. Cioran book The Trouble With Being Born

The Trouble With Being Born (1973)

Way

“Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading.”

Shelley Jackson (1963) a writer and artist known for her cross-genre experiments

Shelley Jackson, in: Shelley Jackson talks with Vito Acconci http://www.believermag.com/issues/200612/?read=interview_acconci, in: The Believer, Nr. 12. 2006.

World , School , Feeling , Change

“The Art of War is about how to take advantage of your neighbours, how to destroy people, how to succeed at the expense of other people.”

John Minford (1946) New Zealand sinologist

Master-Insight.com Interview (2016)

War , People

“… coincident with the explosive growth of research, the art of writing science suffered a grave setback, and the stultifying convention descended that the best scientific prose should sound like a non-human author addressing a mechanical reader. … We injure ourselves when we fail to make our discipline as clear and vibrant as we can to students - prospective scientists - and to the public who pay the taxes.”

David Mermin (1935) American physicist

Suffering , Science

“No Art can be grafted with success on another art. For though they all profess the same origin, and to proceed from the same stock, yet each has its own peculiar modes both of imitating nature, and of deviating from it, each for the accomplishment of its own particular purpose. These deviations, more especially, will not bear transplantation to another soil.”

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

Discourse no. 13, delivered on December 11, 1786; vol. 2, p. 134.
Discourses on Art

Nature , Success

“Life without labor is crime, and labor without art is brutality.”

John Wesley Hardrick (1891–1968) painter

Said in 1914 during an exhibit at Allen Chapel in Indianapolis; cited in William Edward Taylor, Harriet Garcia Warkel and Margaret Taylor Burroughs, A Shared Heritage, Indianapolis Museum of Art
Cf. John Ruskin: "Life without industry is guilt, and industry without art is brutality," from Lectures on Art (1870), lecture III

Life

“I cannot write anything about landscape without writing about the human figure and the human spirit inhabiting the landscape, for me, the whole art sculpture is a fusion of these two element – the balance of sensation and the evocation of man in his universe. Every work in sculpture is either a figure I see, or a sensation I have, whether in Yorkshire, Cornwall or Greece, or the Mediterranean.”

Barbara Hepworth (1903–1975) English sculptor

'Studio International 171' – June 1966; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York 1991, p. 280
1961 - 1975

Universe

“It is now life and not art that requires the willing suspension of disbelief.”

Lionel Trilling (1905–1975) American academic

"The Novel Alive or Dead," A Gathering of Fugitives: New Essays (1956)

Life

“It follows that if the function of ideology in general is to conceal contradictions, then the function of the dominant ideology, the ideology of the ruling classes, is a fortiori the same. This is bound to have serious consequences for all historical disciplines which are concerned with the various forms of ideology, including art history.”

Nicos Hadjinicolaou (1938) Art historian of Marxist-methodology and historian of visual ideology; El Greco scholar and Professor, El Greco …

Art History And Class Struggle (1978)

History

“For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.”

William-Adolphe Bouguereau (1825–1905) French painter

Attributed to Bouguereau in: Sotheby's (Firm). (1994) 19th Century European Paintings, Drawings and Sculpture. p. 123; Cited in: Adolphe William Bouguereau Quotes http://www.artandinfluence.com/2010/10/adolphe-william-bouguereau-quotes.html by Armand Cabrera, Oct. 4, 2010.

Love , Life , Search , Nature