Quotes about art
page 30

“One doesn't look at the quality of work, they see how much it fetches, how it earns. That's a sad thing. Money is not the criteria of art. Art or love is not a question of money. One should percieve these things at a different level.”

S. H. Raza (1922–2016) Indian artist

Indian contemporary artists have not reached my standard: SH Raza

Love, Money, Sadness, Question

“There is an art in taking the whiplash of suffering full in the face, an art you must learn. Let each single attack exhaust itself; pain always makes single attacks, so that its bite may be more intense, more concentrated. And you, while its fangs are implanted and injecting their venom at one spot, do not forget to offer it another place where it can bite you, and so relieve the pain of the first.”

Cesare Pavese (1908–1950) Italian poet, novelist, literary critic, and translator

This Business of Living (1935-1950)

Pain, Suffering, Learning, Forgetting

“How much
I loved the painter's glorious art, which forms
A world like, but more beautiful than this;
Just catching nature in her happiest mood!”

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

Erinna
The Golden Violet (1827)

Love, World, Beauty, Mood

“Jobs: Part of what made the Macintosh great was that the people working on it were musicians, poets, and artists, and zoologists, and historians. They also happened to be the best computer scientists in the world. But if it hadn’t been computer science, these people would have been doing amazing things in other fields. We all brought to this a sort of “liberal arts” air, an attitude that we wanted to pull the best that we saw into this field. You don’t get that if you are very narrow.
Cringley: How does the Web affect the economy?
Jobs: We live in an information economy. The problem is that information's usually impossible to get, at least in the right place, at the right time. The reason Federal Express won over its competitors was its package-tracking system. For the company to bring that package-tracking system onto the Web is phenomenal. I use it all the time to track my packages. It's incredibly great. Incredibly reassuring. And getting that information out of most companies is usually impossible.
But it's also incredibly difficult to give information. Take auto dealerships. So much money is spent on inventory—billions and billions of dollars. Inventory is not a good thing. Inventory ties up a ton of cash, it's open to vandalism, it becomes obsolete. It takes a tremendous amount of time to manage. And, usually, the car you want, in the color you want, isn't there anyway, so they've got to horse-trade around. Wouldn't it be nice to get rid of all that inventory? Just have one white car to drive and maybe a laserdisc so you can look at the other colors. Then you order your car and you get it in a week.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

Robert X. Cringley for a Public Broadcasting System [PBS] television series, “Triumph of the Nerds” (1995), “The Lost Interview: Steve Jobs Tells Us What Really Matters” https://www.forbes.com/sites/stevedenning/2011/11/17/the-lost-interview-steve-jobs-tells-us-what-really-matters/#5cb0fc8e6c3a, Forbes, Steve Denning, Nov 17, 2011, 1990s

Money, People, World, Cars

“To some extent we are all the prisoners of stereotypes; we see each other in terms of distorted and oversimplified images. Better communication in the realm of ideas, of the arts, and of science can help refashion these false images. And by seeing more clearly we may act more wisely.”

Chester Bowles (1901–1986) American politician

Page 255
The Conscience of a Liberal, 1962

Communication, Idea, Science, Help

“The first demonstration (Disq. Arith., Arts. 125-145) which is presented by Gauss in a form very repulsive to any but the most laborious students, has been resumed by Lejeune Dirichlet in a memoir in Crelle's Journal… and has been developed by him with that luminous perspicuity by which his mathematical writings are distinguished.”

Henry John Stephen Smith (1826–1883) mathematician

Report on the Theory of Numbers (1859) Part I, p. 59.
The Collected Mathematical Papers of Henry John Stephen Smith (1894) Vol. 1

Mathematics

“But if you want to be a painter you must go to France — France is the only school of Art.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 1.

School

“A masterpiece of art has in the mind a fixed place in the chain of being, as much as a plant or a crystal.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1870s, Society and Solitude (1870), Art

“For I am every dead thing,
In whom love wrought new alchemy.
For his art did express
A quintessence even from nothingness,
From dull privations, and lean emptiness
He ruined me, and I am re-begot
Of absence, darkness, death; things which are not.”

John Donne (1572–1631) English poet

A Nocturnal upon St. Lucy's Day, stanza 2

Love, Death, Dead

“You can't sell anything to the museum nowadays. If one presents something now, one is partly rejected because they have no money in cash. Yes Friend, that's how things are going... It's going very bad here with the old arts in The Hague., I hardly hear of anything. How are things going in Rotterdam? I believe that also there is not much moving.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) Aan het museum [ver]koop men tans niets. Als men iets tans presanteert, wort men daar mede afgewezen, daar is geen geld bij kas. Ja Vriend, zo gaat het.. .Het is tans zeer dwaas met de oude kuns bij ons [in Den Haag]., ik hoor bijna van niets. Hoe gaat het te Rott.m? Ik geloof dat daar ook niet veel beweeging er mede is.
Quote from Schelfhout's letter to J. Immerzweel, 8 Jan. 1825; original text from the letter in the collection of the Koninklijke Bibliotheek (Royal Library), The Hague, no. 133 C12

Money

“Film will only become an art when its materials are as inexpensive as pencil and paper.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

As quoted in The Super 8 Book (1975) by Lenny Lipton (ed. Chet Roaman); also in Aesthetic Aspects of Recent Experimental Film (1980) by Barry Walter Moore, Garth S. Jowett, p. 6

“Over the years the Flying Scotsman has travelled the world and been owned by pretty well everyone except my wife, and possibly Kate Moss. As I write he's for sale again, for a not inconsiderable 2.5 million Pounds. That may seem a lot for something that no longer has a purpose, even if he is Britain's engineering heritage. But he is not simply a machine. Like an Aston Martin DB7 or an F-16 fighter, he works as an art form too, a piece of sculpture. So what if you can't go anywhere in him anymore. Put him in your garden and spend your days just looking at him.”

Jeremy Clarkson (1960) English broadcaster, journalist and writer

I Know You Got Soul (2004)

World, Travel, Flying

“The invasion of Georgia and South Carolina is the first. But why should the invasion of these two States affect the credit of the thirteen, more than the invasion of any two others? Massachusetts and Rhode Island have been invaded by armies much more formidable. New York, Connecticut, New Jersey, Pennsylvania, Delaware, Maryland, and Virginia, have been all invaded before. But what has been the issue? Not conquest, not submission. On the contrary, all those States have learned the art of war and the habits of submission to military discipline, and have got themselves well armed, nay, clothed and furnished with a great deal of hard money by these very invasions. And what is more than all the rest, they have got over the fears and terrors that are always occasioned by a first invasion, and are a worse enemy than the English; and besides, they have had such experience of the tyranny and cruelty of the English as have made them more resolute than ever against the English government. Now, why should not the invasion of Georgia and Carolina have the same effects? It is very certain, in the opinion of the Americans themselves, that it will. Besides, the unexampled cruelty of Cornwallis has been enough to revolt even negroes; it has been such as will make the English objects of greater horror there than in any of the other States.”

John Adams (1735–1826) 2nd President of the United States

Letter to Baron Van Der Capellen (21 January 1781), Amsterdam. http://oll.libertyfund.org/titles/2105#lf1431-07_head_239 1780s

Money, War, Fear, Learning

“By art and swindling here
Men live for half the year;
By swindling and by art
They live the other part.”

Giovanni Maria Cecchi (1518–1587) Italian poet, playwright, writer and notary

Per arte e per inganno
Si vive mezzo l’anno;
Per inganno e per arte
Si vive l’altra parte.
L’Esaltazion della Croce, Act IV., Scene IX.
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 390.

Men, Parting

“Arabic writing at the beginning of Islam was, therefore, not of the best quality nor of the greatest accuracy and excellence. It was not (even) of medium quality, because the Arabs possessed the savage desert attitude and were not familiar with crafts. One may compare what happened to the orthography of the Qur’an on account of this situation. The men around Muhammad wrote the Qur’an in their own script which, was not of a firmly established, good quality. Most of the letters were in contradiction to the orthography required by persons versed in the craft of writing…. Consequently, (the Qur’anic orthography of the men around Muhammad was followed and became established, and the scholars acquainted with it have called attention to passages where (this is noticeable). No attention should be paid in this connection with those incompetent (scholars) that (the men around Muhammad) knew well the art of writing and that the alleged discrepancies between their writing and the principles of orthography are not discrepancies, as has been alleged, but have a reason. For instance, they explain the addition of the alif in la ‘adhbahannahU "I shall indeed slaughter him" as indication that the slaughtering did not take place ( lA ‘adhbahannahU ). The addition of the ya in bi-ayydin "with hands (power)," they explain as an indication that the divine power is perfect. There are similar things based on nothing but purely arbitrary assumptions. The only reason that caused them to (assume such things) is their belief that (their explanations) would free the men around Muhammad from the suspicion of deficiency, in the sense that they were not able to write well. They think that good writing is perfection. Thus, they do not admit the fact that the men around Muhammad were deficient in writing.”

Ibn Khaldun book Muqaddimah

Muqqadimah, ibn Khaldun, vol. 2, p. 382
Muqaddimah (1377)

Men, Thinking, Sense, Personality

“Universities are an example of organizations dominated wholly by intellectuals; yet, outside pure science, they have not been an optimal milieu for the unfolding of creative talents. In neither art, music, literature, technology and social theory, nor planning have the Universities figured as originators or as seedbeds of new talents and energies.”

Eric Hoffer (1898–1983) American philosopher

Entry (1956)
Eric Hoffer and the Art of the Notebook (2005)

Music, Literature, Optimism, Universe

“When thou art offended at any man's fault, forthwith turn to thyself and reflect in what manner thou doest error thyself… For”

Marcus Aurelius book Meditations

X, 30
Meditations (c. 121–180 AD), Book X
Context: When thou art offended at any man's fault, forthwith turn to thyself and reflect in what manner thou doest error thyself... For by attending to this thou wilt quickly forget thy anger, if this consideration is also added, that the man is compelled; for what else could he do? or, if thou art able, take away from him the compulsion.

Error

“I declare peace the greatest work of art.”

Wolf Vostell (1932–1998) German painter and sculptor

Wolf Vostell (1980) Wolf Vostell : de-collagen; Verwischungen. p. 23
Original: Ich erkläre den Frieden zum größten Kunstwerk.

Peace

“Every part of the earth's surface presents unequivocal proofs that the elevation of the bed of the ocean in some places, and the subsidence of the dry land in others, have been, and are still, going on; and that, in truth, the continual changes in the relative position of the land and water, are the effects of laws which the Divine Author of the Universe has impressed on matter, and thus rendered it capable of perpetual renovation:—
Art, Empire, Earth itself, to change are doomed;
Earthquakes have raised to heaven the humble vail,
And gulf's the mountain's mighty mass entombed,
And where the Atlantic rolls wide continents have bloomed.”

Gideon Mantell (1790–1852) British scientist and obstetrician

Thoughts on a Pebble, or, A First Lesson in Geology (1849)

Truth, Law, Mountain, Universe

“In art, conciseness is both a necessity and a luxury; a concise man provokes thought, a wordy man provokes boredom; always move towards conciseness. In the figure, look for the main light and the main shadow, the rest will come of itself: often, it amounts to very little.”

Edouard Manet (1832–1883) French painter

Quote by Georges Jeanniot, Jan. 1882 - written after visiting Manet's studio; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère' http://www.arthistoryarchive.com/arthistory/manet/arthistory_manet.html, by Charles Moffat, on 'The Art History Archive', c. 2001 Manet kept on working during Jeanniot's visit; he was painting 'The Bar at the Folies-Bergère' https://upload.wikimedia.org/wikipedia/commons/0/0d/Edouard_Manet%2C_A_Bar_at_the_Folies-Berg%C3%A8re.jpg 1876 - 1883

Light

“Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.”

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

Source: Art on the Edge, (1975), p. 136, "Criticism and Its Premises"

“Part of your work feels as clear, it gives you a sense of liberation or beauty and you recognize it as necessary pavements. You are thus in a sense ready. In the other part of your work this is not the case. Therein is the hidden development, which is the true essence of art… the higher purpose, the pursuit forward that art automatically calls. The unclear part of your work needs to progress (stopping is no option, is no life, no art) and it is clear when by working with head and heart, the real step forward has been achieved.”

Bram van Velde (1895–1981) Dutch painter

Letter to B. Kramers, 1926, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 18 (English translation: Charlotte Burgmans)
1920's

Life, Beauty, Feeling, Sense

“In his later works Doesburg tried to destroy static expression by diagonal position of his lines. But in this way the feeling of physic equilibrium which is necessary to enjoy a work of art is lost.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in a letter of Mondrian to Sweeney, 24 May 1943; as cited in: - 102 - Two autobiographical texts (24 May 1943) http://mondrianwritings.nl/wp-content/uploads/2017/03/102.-Two-autobiographical-texts-24-May-1943.pdf This idea was partly the reason of their mutual split in 1924; in 1929 they reconciled in Paris. 1940's

Way, Feeling

“Art is the beautiful illustration of Truth from the creative imagination. The truth is in our life and unless it comes from the formlessness to the form we do not realize it.”

Laxmi Prasad Devkota (1909–1959) Nepali poet

कला र जीवन (Art and Life)
Art and Life

Life, Truth, Beauty, Imagination

“I hold the imitation of colour to be the greatest difficulty of art.”

El Greco (1541–1614) Greek painter, sculptor and architect

Quote from notes of El Greco, in one of his commentaries; as cited by Fernando Marías and Agustín Bustamante García in Las Ideas Artísticas de el Greco (Cátedra, 1981), p. 80; taken from Wikipedia/El Greco: in 'Technique and Style' Original: una es la imitación de los colores https://es.wikiquote.org/wiki/Colores que yo tengo por la mayor dificultad https://es.wikiquote.org/wiki/Dificultad

“To a large extent textual evaluation cannot be bound by any fixed rules. It is an art in the full sense of the word, a faculty which can be developed, guided by intuition based on wide experience.”

Emanuel Tov (1941) Israeli biblical scholar and linguist

The Text-Critical Use of the Septuagint, 2nd ed. (1997), p.232

Sense

“Art comes instinctively to us, but it is so uncertain. I have in front of me photographs of all Picasso’s best works. The mere I admire them the further I feel myself removed from all art, it seems so easy, so limited! We are part of the world creation, and we ourselves create nothing.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1930 - 1941, from 'Arshile Gorky, – Goats on the roof' (2009), p. 168: in a letter to his future wife Agnes Magruder (Mougouch), 7 Mai 1941

World, Feeling, Parting

“The operation of the imagination in life is more significant than its operation in or in relation to works of art… in life what is important is the truth as it is, while in arts and letters what is important is truth as we see it.”

Wallace Stevens (1879–1955) American poet

The Necessary Angel (1951), Imagination as Value

Life, Truth, Imagination

“In very other period of art history, the idea itself –the what – had been primary. Today the idea matters less than the way it is arrived at; it is the how that makes the work. This word brings us again face to face with the theme and its infinite variations. It is no longer a matter of knowing, of possessing the truth, but of approaching it… knowing that the road is long, knowing that the road does not end, knowing that the road is the end in itself.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), p. 159 : About 1961

Truth, Way, History, Idea

““His historic talent was backed up by extraordinary erudition. Behind his wizardry with the eyes lay sustained practice undertaken with devotion and discipline”
- L. S Rajagopalan (noted art critic), 1990”

Mani Madhava Chakyar (1899–1990) Indian actor

Source: Abhinaya and Netrābhinaya, L.S Rajagopalan, Mani Madhava Chakyar- A Titan of A Thespian, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).

“Do not confuse fantasy with imagination: the former consumes itself in daydreaming, the latter stimulates creativity in the arts and in the sciences.”

Fausto Cercignani (1941) Italian scholar, essayist and poet

Examples of self-translation (c. 2004), Quotes - Zitate - Citations - Citazioni

Imagination, Science

“Art is necessary in order that man should be able to recognize and change the world. But art is also necessary by virtue of the magic inherent in it.”

Ernst Fischer (1899–1972) Austrian literature historian, publicist and writer

The Necessity of Art: A Marxist Approach (1965), Penguin Books, translated by Anna Bostock.

World, Change

“But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique.”

Arnold Hauser (1892–1978) Hungarian art historian

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

Faith, Nature, Sense, Time

“The era of Conceptual art - which was also the era of the Civil Rights Movement,. Vietnam, the Women's Liberation Movement, and the counter-culture- was a real.”

Lucy R. Lippard (1937) American art curator

Source: Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973), p. vii.

Women

“Hail to thee, blithe Spirit!
Bird thou never wert,
That from Heaven, or near it,
Pourest thy full heart
In profuse strains of unpremeditated art.”

Percy Bysshe Shelley To a Skylark

St. 1
To a Skylark (1821)

Bird, Heart

“In our day the conventional element in literature is elaborately disguised by a law of copyright pretending that every work of art is an invention distinctive enough to be patented.”

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

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

Law, Literature

“Instinct and study; love and hate;
Audacity — reverence. These must mate,
And fuse with Jacob’s mystic heart,
To wrestle with the angel — Art.”

Herman Melville (1818–1891) American novelist, short story writer, essayist, and poet

Timoleon http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1018&context=libraryscience, Art (1891)

Love, Hate, Angels, Study

“I painted [circa 1960-62] through the whole history of art toward abstraction. I painted like crazy [and] I had some success with all that, or gained some respect. But than I felt it wasn't it, and so I burned the crap in some sort of action in the courtyard. And then I began. It was wonderful to make something and then destroy it. It was doing something and I felt very free.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 34

History, Success, Painting

“Bement [her art teacher] told me things to read. He told me of exhibitions to go and see [c. 1917].... the two books that he told me to get were Jeromy Eddy 'Cubists and Post-impressionism' and Kandinsky 'On the Spiritual of Art'… It was some time before I really begun to use the ideas. I didn't start at until I was down in Carolina — alone — thinking things out for myself.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

Books, Idea, Thinking, Teachers

“Religious art is the measure of human depth and sincerity; any triviality, any weakness, cries aloud.”

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

Mont Saint Michel and Chartres (1904)

Sincerity

““Has the Centre ever considered the merits of a phenomenal Kudiyattam exponent like Mani Madhav Chakkiyar - true genius?”
- Leela Venkatraman- art critic, The Hindu, 1998”

Mani Madhava Chakyar (1899–1990) Indian actor

Awards Source: Leela Venkatraman, An index of merit?, "The Hindu", December 27, 1998 http://www.hindu.com/folio/fo9812/98120100.htm

“I beg of Thee, O my Best Beloved, to pardon me and those who earnestly seek to promote Thy Cause; Thou art indeed the One Who forgiveth the sins of all mankind.”

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

Tablet to ‘Him Who Will Be Made Manifest’

“If you leave your art, the world will beat you back to it. The world has not an ambition worth sharing, or a prize worth handling. Corrupt successes, disgraceful failures, or sheeplike vegetation are all it has to offer. I prefer Art, which gives me a sixth sense of beauty, with self-respect: perhaps also an immortal reputation in return for honest endeavour in a labour of love.”

George Bernard Shaw (1856–1950) Irish playwright

1900s, Love Among the Artists (1900)

Love, World, Beauty, Failure

“Painting is a thundering conflict of different worlds, which in and out of the battle with one another are intended to create the new world, which is called the world of art. Each work arises technically in a way similar to that in which the cosmos arose – through catastrophes, which from the chaotic roaring of the instruments finally create a symphony, the music of the spheres. The creation of the work is the creation of worlds.”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 34

World, Music, Way, Painting

“Let’s take a look at the 25th variation of the second part. Here Bach meets us in his highest and deepest personal and human form: it’s like in the Art of Fugue in the unfinished fugue No. 20, where Bach confronts us with his personal signature. It was he himself, who, after he had been occupied during his whole life with symbols, with numbers, with the mastering of structural and formal problems and renewals, now he saw himself confronted with a personal view into mirror. He now shows us a human being in his whole conception of life. The composer of “Come, oh sweet death” now is confessing, “Oh sweet death, how bitter is your prickle.””

Burkard Schliessmann classical pianist

Talkings on Bach

Life, Death, Problem, Parting

“No piece of art can depict feelings if a piece of reality is not included in it.”

Jean Fautrier (1898–1964) French painter

Ruhrberg, Karl. 2000. “The Paris–New York Shift.” Art of the 20th Century. Ed. Ingo F. Walter. Cologne: Benedikt Taschen Verlag GmbH. 269–344.

Feeling, Reality

“In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art.”

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

Quoted in: Margaret Walch (1979) Color source book, p. 98

Color

“That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!”

Joni Mitchell (1943) Canadian musician

You know? He painted it and that was it.
Miles of Aisles (1974)

Joy, Painting, Night

“The chief element of creation is love and the chief action of love is Art.”

Laxmi Prasad Devkota (1909–1959) Nepali poet

कला र जीवन (Art and Life)
Art and Life

Love

“I saw the passers-by on the avenue clearly and simply, in the way they are in Japanese prints [she saw some earlier, together with Mary Casatt in the 'Ecole des Beaux Arts', Paris]. I was thrilled, I knew definitely why I had been painting badly and why I would never paint that way again. I mean to say, I am fifty years old and once a year at least I have the same joy and the same hope.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe Morisot, Jan. 1891; in 'Carnet Noir'; as cited in Berthe Morisot by Monique Angoulvent, Morance, Paris, 1933, p. 97
1881 - 1895

Hope, Way, Joy, Painting

“Cicero is hardly to be reckoned … for he delighted so much more in the practice, than in the theory, of his art, that he is perpetualy drawn off from the rigid philosophical analysis of its principles, into discursive declamations, always eloquent indeed, and often highly interesting, but adverse to regularity of system, and frequently as unsatisfactory to the practical student as to the Philosopher.”

Richard Whately (1787–1863) English rhetorician, logician, economist, and theologian

Introduction, p. 19
Elements of Rhetoric (1828)

“We are getting carried away by the on-the-move musicians. Most of the Carnatic concerts abroad are being organised by NRIs. The defining moment is when an artist is invited to a foreign land and applauded by the foreign nationals. They should forge artistic alliances and find new audiences by introducing people of other nationalities to our arts.”

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

Source: Chitra Swaminathan "He defines ‘style’ as tradition".

People

“I wished to go completely outside and to make a symbolic start for my enterprise of regenerating the life of human kind within the body of society and to prepare a positive future in this context… I can see such a use for the future as representing the really progressive character of the idea of understanding art when it is related to the life of humankind within the social body in the future.”

Joseph Beuys (1921–1986) German visual artist

Quote of Beuys, in Studio International Vol. 195, (1981), p. 46
1980's

Life, Idea, Understanding, Future

“Tis well: the rack, the chain, the wheel,
Far better had'st thou proved;
Ev'n I could almost pity feel,
For thou art not beloved.”

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

Revenge
The Venetian Bracelet (1829)

Feeling

“The Simulation imposed upon us by shadow governments and hidden elites must be exposed and destroyed. That includes a cancerous art establishment based on commerce and the malignant dictums of predatory capitalism that negates individual breakthroughs based on lived experience.”

Nick Zedd (1958) American film maker

The Extremist Manifesto, 2013

“Spiritually we are at ground zero, sunk, bored to perdition. All our arts prove it. Since the renaissance, so mechanized, we repeat with almost futile variants the same hackneyed sentimentalities (we call them eternal values!) Love! Re-love No Love! More Love!”

Louis-ferdinand Céline (1894–1961) French writer

102
L'Ecole des cadavres (1938)

Love

“I tell you, struggle is what is missing in the lives of most young people today. If they think I'm going to support them while they create great works of art, then they've missed the point of my work, of my life! In the process of becoming a writer or an artist one has to be willing to starve. Struggle is the most invaluable experience of all. Suffering seems to be the inevitable fate of the creative sensitive types. Poverty, disease, death, unrequited love affairs, and disappointments of every sort fan the flame of the artistic spirit. The greatest works of art were not created by spoiled brats. They were born for the most part out of a sense of despair, and if not despair then just plain hard work. Somewhere along the line the artist learns the art of transformation.”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love, Life, Death, Fate

“One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial."”

Clement Greenberg (1909–1994) American writer and artist

On Hans Hofmann, in "Hofmann", in Georges (Fall 1961)
1960s

Time

“Because most people are not sufficiently employed in themselves, they run about loose, hungering for employment, and satisfy themselves in various supererogatory occupations. The easiest of these occupations, which have all to do with making things already made, is the making of people: it is called the art of friendship.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

"The Myth" from Anarchism Is Not Enough (London: Jonathan Cape, 1928)

Hunger, Friendship, People

“My purpose is, by Gods assistance, to set forth the Art of painting, as in old times it hath begun, as it was promoted, as it came to that wonderfull perfection mentioned in ancient Authors. The first booke toucheth the first beginnings of Picture. The second booke propoundeth diverse meanes tending to the advancement of this Art. The third booke speaketh of the maine grounds of Art, the which being well observed by the old Artificers, made them come neerer to the height of perfection.”

Franciscus Junius (the younger)

[The painting of the ancients, in three bookes, London, Printed by R. Hodgkinsonne, 1638, 1–2, https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7hq5gq92;view=1up;seq=13]

God, Books, Time, Painting

“A work of art is only of interest, in my opinion, when it is an immediate and direct projection of what is happening in the depth of a person's being.... It is my belief that only in this Art Brut can we find the natural and normal processes of artistic creation in their pure and elementary state.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, pp. 203-204

Nature, Personality

“I’d like to think I have somehow connected or tapped to our collective subconscious, but in a sense I am just pulling ideas off the morning news. The real challenge is to make art out of these bits and pieces of our reality. I am a third-generation artist raised in the ghetto who was classically educated. This had its assets and liabilities.”

Joe Lewis (artist) (1953) American photographer

Walter Robinson. " Joe Lewis: Clairvoynace http://www.artnet.com/magazineus/features/robinson/robinson8-16-07.asp" at artnet.com, 2015.

Education, Idea, Thinking, Reality

“As with other modern artists, his readings provided not an organized outlook but a kind of metaphysical hum that surrounded his mental operations. His thinking was truly systematic only when it dealt with achieving the reality of the art object as a "creation out of nothing," which was a common theme in New York art after the last war and the break with the European past.”

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

Source: Art on the Edge, (1975), p. 58, "Newman: Meaning in Abstract Art II" : On Barnett Newman

War, Thinking, Reality, Reading

“As absurd as it might sound, there's a strange synergy between very bad movies and very good ones. That's because films on either extreme of the quality scale have the ability to burrow deep into the subconscious, with unpredictable and occasionally remarkable results. Great works of art can cause euphoria, touch a deep emotional chord, or, in rare cases, affect fundamental changes in a person's outlook on life. Conversely, viewing unwatchable tripe can be damaging, possibly resulting in psychotic episodes, an appreciation of '70s fashion, or leaping to the defense of Pauly Shore. There's something almost profound about enduring a horrifically inept piece of cinema, and Coyote Ugly, living up to every letter in its name, offers the opportunity for such an experience.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1611 of Coyote Ugly (2000). One-star reviews

Life, Fashion, Change, Personality

“Árt is dead. Long live Tatlin's new machine art.”

George Grosz (1893–1959) German artist

Grosz and Heartfield, 1920: text on their billboard at the Dada fair in Berlin

Dead

“Neither art nor wisdom may be attained without learning.”

Democritus Ancient Greek philosopher, pupil of Leucippus, founder of the atomic theory

Source Book in Ancient Philosophy (1907), The Golden Sayings of Democritus

Wisdom, Learning

“And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

Beauty, Tear

“In his Experiment in Autobiography (1934), H. G. Wells pointed out that ever since the beginning of life, most creatures have been 'up against it'. Their lives are a drama of struggle against the forces of nature. Yet nowadays you can say to a man: Yes, you earn a living, you support a family, you love and hate, but -- what do you do? His real interest may be in something else -- art, science, literature, philosophy. The bird is a creature of the air, the fish is a creature of the water, and man is a creature of the mind.”

Colin Wilson book From Atlantis to the Sphinx

Source: From Atlantis to the Sphinx (1996), p. 346-347

Love, Life, Hate, Family

“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Reality, Painting

“I should have done my novel before this, but I was a journalist and a junkie for 20 years and unlike the junkie cliché, I had good jobs all over the world. I was a books editor, I did financial journalism for Asia Week for five years, I was Bombay correspondent for the South China Morning Post for 18 months, I worked for every newspaper in India doing arts journalism. I was a hardworking junkie.”

Jeet Thayil (1959) Indian writer

Jeet Thayil: Confessions of an Indian Opium-Eater

Books, World

“I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new.. The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's letter to Mr. Fritz Gartz, Paris, 8 Oct. 1912; from LETTERS BY GIORGIO DE CHIRICO TO FRITZ GARTZ, PARIS, 1912-1914 http://www.fondazionedechirico.org/wp-content/uploads/576-579Metafisica7_8.pdf, p. 576 1908 - 1920

People, Beauty, Intelligence, Understanding

“Pricasso had a long line of people waiting to pay him to paint with his penis. The former builder said he had always been talented at drawing but five years ago came up with the idea of creating art with a different type of implement.”

Pricasso (1949) Australian painter

[Ellen Lutton, Sexpo draws crowds... and then they're painted, The Sun-Herald, Sydney, Australia, 7 March 2010, 25, Fairfax Media Publications Pty Limited.]
About

People, Idea, Waiting, Drawing

“It is a fit time to go to the drinking,
With the skilful men, about art,
And a hundred knots, the custom of the country,
The shepherd of the districts, support of gates,
Like going without a foot to battle.”

Taliesin (534–599) Welsh bard

Book of Taliesin (c. 1275?), The Fold of the Bards

Men, Drink, Support, Time

“It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. But I wanted to make out of Impressionism something solid and lasting like the art of the museums.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

“I was born in the Realms of Etiquette;
In early years, unprotected and poor.
Alone, I learnt to distinguish between Evil and Good;
Untutored, I toiled at bitter tasks.
The World's Law honours Learning and Fame;
Scholars prize marriages and Caps.
With these fetters I gyved my own hands;
Truly I became a much-deceived man.
At ten years old I learnt to read books;
At fifteen, I knew how to write prose.
At twenty I was made a Bachelor of Arts;
At thirty I became a Censor at the Court.
Above, the duty I owe to Prince and parents;
Below, the ties that bind me to wife and child.
The support of my family, the service of my country—
For these tasks my nature is not apt.”

Bai Juyi (772–846) Chinese poet of the Tang Dynasty

"Chu Ch'ēn Village" (A.D. 811)
Arthur Waley's translations

Marriage, Books, World, Family

“It was the way you looked at me while I looked at the art that changed me. It is you, in other words, who changed.”

Nicholas Sparks (1965) American writer and novelist

Ruth Levinson, Chapter 14 Ira, p. 199
2009, The Longest Ride (2013)

Way, Change

“A powerful critical talent who destroyed his own sense of proportion, Leavis was our brush with totalitarianism: we caught it as a mild fever instead of the full attack of meningitis. His career was the clearest possible proof that the course the arts take is not under the control of criticism.”

F. R. Leavis (1895–1978) British literary critic

Clive James From the Land of Shadows (London: Picador, 1983) p. 206.
Criticism

Sense

“I have extolled Thine overpowering majesty through Thine Own Self before the dwellers of the heavens and the earth, bearing witness that, verily, Thou and Thou alone art the Lord of might, the Eternal One, the Ancient of Days.
Hallowed and glorified art Thou; there is none other God but Thee and in truth unto Thee do we all return.”

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

Tablet to ‘Him Who Will Be Made Manifest’

God, Truth

“The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenthcentury author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken (2013). " Broken Circle &/ Spiral Hill: Smithson’s Spirals, Pataphysics, Syzygy, and Survival http://artexetra.files.wordpress.com/2009/02/shanken-smithson-2013.pdf."

Law, Literature, Universe, Reading

“A man with taste is the same as a woman with taste. Man invents his home, woman - her dress. Being an artist means having an individual, distinct from all other people's perception and concept of every single thing. Being an artist does not mean possessing a faculty of combining lines and paints, being artful in this or that sort of art, but having a world inside oneself and individual forms to express it.”

Marianne von Werefkin (1860–1938) expressionist painter

1895 - 1905
Source: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 106

People, World, Home, Painting

“Art matters not merely because it is the most magnificent ornament and the most nearly unfailing occupation of our lives, but because it is life itself.”

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

"The Obscurity of the Poet", p. 15
Poetry and the Age (1953)

Life

“A community`s art is its spiritual vision.”

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

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 206

Communication

“We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest.”

Arnold Hauser (1892–1978) Hungarian art historian

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

Family, Feeling, Strong, Past

“He produced a work of art which by its deep appreciation of natural beauty and the melancholy tenderness of its treatment of the ancient legend did more than any single work to bring about the romantic movement in European, and especially in German, literature.”

James Macpherson (1736–1796) Scottish writer, poet, translator, and politician

The Encyclopædia Britannica, 11th edn. (Cambridge: Cambridge University Press, 1910-11) vol. 17, p. 268.
Criticism

Beauty, Literature, Nature

“When the book appeared, a few reviewers found this plot incredible; they accused Professor O'Neal of having too little art to persuade them to suspend their disbelief in his assertion that Shakespeare was a precocious girl. Perhaps this was because they knew that the life of literary people is usually devoid of exciting external incident.”

Robertson Davies book A Voice from the Attic

A Voice from the Attic (1960)

Life, People, Books, Girl

“The mathematician may be compared to a designer of garments, who is utterly oblivious of the creatures whom his garments may fit. To be sure, his art originated in the necessity for clothing such creatures, but this was long ago; to this day a shape will occasionally appear which will fit into the garment as if the garment had been made for it. Then there is no end of surprise and delight.”

George Dantzig (1914–2005) American mathematician

This quote is by his father Tobias Dantzig (1884-1956) Number: The Language of Science (1930) p. 240
Misattributed

Appearance, Clothes

“I am tired of 'the fine art of unhappiness.”

Denise Levertov (1923–1997) Poet

Conversation in Moscow, The Wealth of the Destitute

“I chose to paint because the medium as such has a particular meaning. It is almost synonymous with what is popularly viewed as Art - art with a capital A-with all the glory, the piety, and the authority that it commands.”

Hans Haacke (1936) conceptual political artist

1980s Source: Bois,Yve-Alain, Douglas Crimp, and Rosalind Krauss. " A Conversation with Hans Haacke http://www.kim-cohen.com/artmusictheoryassets/artmusictheorytexts/Haacke_Interview.PDF." in: October : The First Decade 30 (fall 1984): 23-48

Painting

“We stand guard over works of art, but species representing the work of aeons are stolen from under our noses.”

Aldo Leopold (1887–1948) American writer and scientist

"Preface".
1930s, Game Management, 1933

“It is very conceivable, that the labor of man alone laid out upon a work, requiring great skill and art to bring it to perfection, may be more productive, in value, than the labour of nature and man combined, when directed towards more simple operations and objects”

Alexander Hamilton Report on Manufactures

Report on Manufactures (1791)

Nature, Perfection

“..(Then come the lovers of art / and contemplate the bleeding work from outside. / Then come the photographers. / "New art," it says in the newspaper the following day. / The learned journals / give it a name that ends in "ism").”

Paul Klee (1879–1940) German Swiss painter

Quote (1905), # 690, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Lovers, Learning

“I think I had been badly affected by.... the romance of Abstract Expressionism... particularly as it filtered out to places like Princeton and around the country, which was the idea of the 'artist as a terrifically sensitive ever-changing, ever ambitious person', particularly [described] in magazines like 'Art News' and 'Arts', which I read religiously.. I began to feel very strongly about finding a way that wasn't so wrapped up in the hullabaloo.... something that stable in a sense, something that wasn't constantly a record of your sensitivity, a record of flux.”

Frank Stella (1936) American artist

reacting on a question about 'gesture' panting
Quote in: Frank Stella, William S. Rubin, Museum of Modern Art, New York, 1970, p. 13
Quotes, 1960 - 1970

Way, Feeling, Idea, Question

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School, Light, Time, Painting

“As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art... These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style.”

Adolph Gottlieb (1903–1974) American artist

Arshile Gorky Adolph Gottlieb in exhibition catalogue Kootz Gallery New York, 1950; as quoted in Abstract Painting in America, W.C, Seitz p. 104.
1950s

Happiness, Sadness, Thinking, Sense

“[Addressed to Berlusconi who wanted to impose himself on the editorial style of "Il Giornale"] In the art of entrepeneurship, you are certainly a genius, and I an asshole. But in the art of argument the genius is me, and you the asshole.”

Indro Montanelli (1909–2001) Italian journalist

cited in Marco Travaglio, Montanelli e il Cavaliere: storia di un grande e di un piccolo uomo.
2000s - 2010s

“I think all aesthetic judgments—all the aesthetic choices we are making—are moral choices. They cannot escape the moral dimension in the broader sense. It has to relate to the philosophical understanding of who we are and how so-called “art and culture” functions in today’s world.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Escape from Propaganda, 2009

World, Understanding, Thinking, Sense

“Among the names of those who have led the great advance of the industrial arts during the past thirty years, that of Frederick Winslow Taylor will hold an increasingly high place. Others have led in electrical development, in the steel industry, in industrial chemistry, in railroad equipment, in the textile arts, and in many other fields, but he has been the creator of a new science, which underlies and will benefit all of these others by greatly increasing their efficiency and augmenting their productivity. In addition, he has literally forged a new tool for the metal trades, which has doubled, or even trebled, the productive capacity of nearly all metal-cutting machines. Either achievement would entitle him to high rank among the notable men of his day; — the two combined give him an assured place among the world's leaders in the industrial arts.
Others without number have been organizers of industry and commerce, each working out, with greater or less success, the solution of his own problems, but none perceiving that many of these problems involved common factors and thus implied the opportunity and the need of an organized science. Mr. Taylor was the first to grasp this fact and to perceive that in this field, as in the physical sciences, the Baconian system could be applied, that a practical science could be created by following the three principles of that system, viz.: the correct and complete observation oi facts, the intelligent and unbiased analysis of such facts, and the formulating of laws by deduction from the results so reached. Not only did he comprehend this fundamental conception and apply it; he also grasped the significance and possibilities of the problem so fully that his codification of the fundamental principles of the system he founded is practically complete and will be a lasting monument to its founder.”

Henry R. Towne (1844–1924) American engineer

Henry R. Towne, in: Frank Barkley Copley, Frederick W. Taylor, father of scientific management https://archive.org/stream/frederickwtaylor01copl, 1923. p. xii.

Men, World, Law, Intelligence