Quotes about art
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“2454. If any one giveth thee excessive Praises more than can handsomely belong to thee, thou art to think of him, that he taketh thee for vain and credulous, and easy to be deceived, and effectually a Fool.”

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

Introductio ad prudentiam: Part II (1727)

Fools, Thinking

“Robert Parish and Kareem Abdul-Jabbar are the two reasons I became a vegetarian fully in the first place. They where the first ones I saw and I was 27 at the time and there was an article about Robert Parish and one of his martial art forms and I remember playing against this guy and asking him how he was running up and down the court with me and I was in my twenties. He said, "you have to learn to pace yourself young fella". … Then I would go, "well then your car has no gas" and I thought about that. So at 27 I made the change. … I had a good career but Robert Parish had a view to look at stats and a better career. If I would have known how to take care of my body … then I would have played until I was 40 as well.”

John Salley (1964) American basketball player

“Along Came a Spider-An Interview With John Salley,” in Basketball 24/48/82 (12 August 2014) http://basketball244882.blogspot.com/2014/08/along-came-spider-interview-with-john_12.html.

Cars, Guy, Learning, Change

“The internet has stopped people from going out and being with each other, creating stuff. Instead they sit at home and make their own records, which is sometimes OK but it doesn’t bode well for long-term artistic vision. It’s just a means to an end. We’re talking about things that are going to change the world and change the way people listen to music and that’s not going to happen with people blogging on the internet. I mean, get out there, communicate. Hopefully the next movement in music will tear down the internet. Let’s get out in the streets and march and protest instead of sitting at home and blogging. I do think it would be an incredible experiment to shut down the whole internet for five years and see what sort of art is produced over that span. There’s too much technology available. I’m sure, as far as music goes, it would be much more interesting than it is today.”

Elton John (1947) English rock singer-songwriter, composer and pianist

Elton John, blaming the internet for destroying good music http://www.gigwise.com/news/35721/elton-john-wants-to-tear-down-the-internet (2 August 2007)

People, World, Music, Way

“This is the Way for men who want to learn my strategy:
Do not think dishonestly.
The Way is in training.
Become acquainted with every art.
Know the Ways of all professions.
Distinguish between gain and loss in worldly matters.
Develop intuitive judgment and understanding for everything.
Perceive those things which cannot be seen.
Pay attention even to trifles.
Do nothing which is of no use.”

Miyamoto Musashi (1584–1645) Japanese martial artist, writer, artist

Go Rin No Sho (1645), The Ground Book

Men, Way, Understanding, Thinking

“In the winter of 2008, Jenifer and I visited Chennai Mathematical Institute. This remarkable Institute is the creation of Seshadri. It is a unique blend of an American style liberal arts college with traditional Indian guru one-on-one teaching, adding physics, computer science, history and music to its maths curriculum. Only in India could an intellectual with no business or management experience, who spends all his spare time singing classical south Indian music, have been the catalyst for such a unique educational experiment.”

David Mumford (1937) American mathematician

[David Mumford, Passages to India, Mathematics Intelligencer, 2010, Hyderabad edition, 51-55, http://www.dam.brown.edu/people/mumford/beyond/papers/2010c--PassagesIndia-journal.pdf]

Education, Music, History, Mathematics

“In any art there are a lot of technical things that you can get to like. Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot. I pay a lot of attention to how things are done and the whole activity of building something is interesting.”

Donald Judd (1928–1994) artist

1960s, "Oral history interview with Donald Judd," 1965

People, Way

“Art is internal and external. The repose a person feels in aesthetic creation comes from his, for the time, feeling he is what he is and also what he is not. Ego and otherness don't fight for the while. The artist feels he has reached form in the deepest places of his personality, because things outside himself have been see courageously, truly, respectfully by him.”

Eli Siegel (1902–1978) Latvian-American poet, philosopher

Everything Has to Do with Hardness and Softness (1969)

Feeling, Courage, Time, Fight

“One good Art's better than a thousand bad.”

John Ogilby (1600–1676) Scottish academic

Fab. LVII: Of the Fox and the Cat
The Fables of Aesop (2nd ed. 1668)

“Art is not an end but a beginning.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Ai Weiwei: A Rebel of Poet Roots, 2008

“I am sometimes also asked whether the October Crisis taught me anything about the art of governing, or about the means that were at my disposal for defusing the crisis. First of all, it taught me that you can be the prescient futurologist in the world, you can lay out the best-made plans and define your priorities with the utmost care, but if you show yourself to be incapable of managing a crisis when it arises, you will lose your right to govern and the whole thing will blow up in your face.”

Pierre Trudeau (1919–2000) 15th Prime Minister of Canada

Part 2, 1968 - 1974 Power And Responsibility, p. 149-150
Memoirs (1993)

World

“For a man who is sensitive to nature, happiness consists in expressing nature. How infinitely happy, then, is the man who reflects nature like a mirror without being aware of it, who does the thing for love of it and not from any pretensions to take first place. This noble unself-consciousness is what we find in all truly great men, in the founders of the arts. I picture the great Poussin, in his retreat, delighting in the study of the human heart.... I picture Raphael in the arms of his mistress, turning from La Fornarina to paint his Saint Cecilia.... I am only too well aware that I am far not only from their divine spirit, but even from their modest simplicity…”

Eugène Delacroix (1798–1863) French painter

Quote in a letter to Delacroix' friend J. B. Pierret, 23 October 1818, from the Forest of Boixe; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and transl. Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 43
1815 - 1830

Love, Men, Happiness, Nature

“Nor is it any part of my thesis to maintain that it [the detective story] is a vital and significant form of art. There are no vital and significant forms of art; there is only art, and precious little of that.”

Raymond Chandler book The Simple Art of Murder

essay, first appeared in The Atlantic Monthly (November, 1945)
The Simple Art of Murder (1950)

Parting

“[Rock 'n' roll] really is not given to thinking — and resents thinking. Which I believe is the big error of rock 'n' roll. It's always aspired to be the music of the working class. And it's never been looked upon as a vocabulary for art and artistic thinking… We have to be able to expand the vocabulary to express more complex thoughts.”

Paul Simon (1941) American musician, songwriter and producer

Interview in Musician (March 1984), p. 66-68

Music, Error, Thinking

“The picture of today's Iran in the world is terrible, comparing the past and now. I'm happy that few years ago at the time of Tehran's post-election unrest in 2009, the world for the first time in many years saw the true face of Iranians and both people inside the country and foreigners once again reminded themselves of Iran's glorious civilisation, history and art. I hope the situation changes and they can have the regime they deserve.”

Farah Pahlavi (1938) Empress of Iran

Former queen of Iran on assembling Tehran's art collection http://www.guardian.co.uk/world/2012/aug/01/queen-iran-art-collection, The Guardian, (August 1, 2012). Interviews

Happiness, People, World, Hope

“The historical importance of the Carracci is extraordinary; the history of the whole of modern ‘church art’ begins with them.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 9. The Baroque of the Catholic Courts

History

“It has often occurred to my mind in digesting my thoughts on this subject, what a pity it is that this most useful science should be so generally neglected in the modern methods of education; and that preceptors and tutors, both in public and private seminaries of learning, should forget that the forming the manners is more necessary to a finished education than furnishing the minds of youth. Socrates, who made all his philosophy subservient to morality, was of this sentiment: and took more pains to rectify the tempers than replenish the understandings of his pupils; and looked upon all knowledge as useless speculation that was not brought to this end, to make us wiser and better men. And, without doubt, if in the academy the youth has once happily learned the great art of managing his temper, governing his passions, and guarding his foibles, he will find a more solid advantage from it in afterlife, than he could expect from the best acquaintance with all the systems of ancient and modern philosophy.”

John Mason (1706–1763) English Independent minister and author

A Treatise on Self-Knowledge (1745)

Men, Pain, Youth, Education

“That's the art of leadership. To make sure that what shouldn't happen, doesn't happen.”

Tony Blair (1953) former Prime Minister of the United Kingdom

[Stryker Mcguire, I Did It My Way, http://www.msnbc.msn.com/id/17202843/site/newsweek/, Newsweek International, 2007-02-26, 2007-02-20]
Interview with Newsweek.
2000s

“I have always been fascinated with the arts. When I was in Iran in that position I was constantly concerned with promoting our Iranian traditional art but, at the same time, with introducing contemporary and modern art.”

Farah Pahlavi (1938) Empress of Iran

Former queen of Iran on assembling Tehran's art collection http://www.guardian.co.uk/world/2012/aug/01/queen-iran-art-collection, The Guardian, (August 1, 2012). Interviews

Time

“Science may fall back on its stupid excuse that science works for science, and that when it has been developed by the scientists it will become accessible to the people also; but art, if it be art, should be accessible to all, and particularly to those for whom it is produced. And the position of our art strikingly arraigns the producers of art for not wishing, not knowing how, and being unable, to serve the people.”

Leo Tolstoy (1828–1910) Russian writer

What then must we do? (1886)

People, Stupidity, Science

“From the earliest days of my pupilage to art I had been instinctively drawn towards the paintings of Turner, Corot, Constable, Bonington, and Watts, with an intense admiration for their manner in viewing, and methods of re-creating, nature upon their canvases; and in later years I had been fascinated by the works of more modern artists, such as La Thangue, George Clausen, Edward Stott, and Robert Meyerheim.”

Wynford Dewhurst (1864–1941) British artist

Source: Impressionist Painting: its genesis and development. (1904), p. vii; Preface.

Nature, Painting

“The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.”

Paul Klee (1879–1940) German Swiss painter

Diary entry (December 1905), # 733, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1903 - 1910

Beauty, Way

“[But] to sing of your face, a composition
in itself sublime and marvelous,
I lack knowledge, Lady, and wit and art.”

Luís de Camões (1524–1580) Portuguese poet

Porém, pera cantar de vosso gesto
A composição alta e milagrosa
Aqui falta saber, engenho e arte.
The Collected Lyric Poems of Luis de Camoes (2016), trans. Landeg White, p. 25
Lyric poetry, Sonnets, Eu cantarei de amor tão docemente

Knowledge, Singing

“Even as a surgeon, minding off to cut
Some cureless limb,—before in ure he put
His violent engins on the vicious member,
Bringeth his patient in a senseless slumber,
And grief-less then (guided by use and art),
To save the whole, sawes off th' infested part.”

Guillaume de Salluste Du Bartas (1544–1590) French writer

First Week, Sixth Day.
La Semaine; ou, Création du monde (1578)

Parting

“For all families, participation in music and the arts, can help people reclaim and achieve the American dream.”

Linda Ronstadt (1946) American pop singer

Linda Ronstadt, Arts Advocacy Day 2009 Congressional Hearing https://www.youtube.com/watch?v=uLo6o_ayKZ0, 1 May 2009

People, Family, Dreams, Music

“No longer would we imprison thee though thou art all gentleness and would chat and jest with us by the hour.”

Samuel Laman Blanchard (1804–1845) British author and journalist

"A Quarrel with some Old Acquaintances".
Sketches from Life (1846)

“I suspect that the word (art) was invented by second-rate intelligences to describe the incomprehensible activities of their betters.”

Jack Vance book Showboat World

Source: Showboat World (1975), Chapter 10 (p. 111)

Intelligence

“The art of painting is only the art of expressing the invisible by the visible. Whether its roads be great or small, they are sown with problems which it is permitted to sound for one's self as truth, but which it is well to leave in their darkness as mysteries.”

Eugène Fromentin (1820–1876) French painter

Quote from The Old Masters of Belgium and Holland - Les Maitres d’Autrefois, 'Preface', Eugène Fromentin; ed. Mary Caroline Robbins, publisher: J. R. Osgood and company, Boston 1882, p. iv

Truth, Problem, Painting

“Donald Conroy is the only person I have ever known whose self-esteem was absolutely unassailable. There was not one thing about himself that my father did not like, nor was there one thing about himself that he would change. He simply adored the man he was and walked with perfect confidence through every encounter in his life. Dad wished everyone could be just like him. His stubbornness was an art form. The Great Santini did what he did, when he wanted to do it, and woe to the man who got in his way. Once I introduced my father before he gave a speech to an Atlanta audience. I said at the end of the introduction, "My father decided to go into the Marine Corps on the day he discovered his IQ was the temperature of this room."”

Pat Conroy (1945–2016) American novelist

My father rose to the podium, stared down at the audience, and said without skipping a beat, "My God, it's hot in here! It must be at least 180 degrees".
Eulogy for a Fighter Pilot (1998)

Life, God, Way, Confidence

“No one component of a film can have any meaning in isolation: it is the film that is the work of art. And we can only talk about its components rather arbitrarily, dividing it up artificially or the sake of theoretical discussion.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 114

“Love, let others read
The Socratic papers,
While in two beautiful eyes I will apprehend this art.”

Torquato Tasso Aminta

Amor, leggan pur gli altri
Le Socratiche carte,
Ch'io in due begl'occhi apprenderò quest'arte.
Act II, Chorus.
Aminta (1573)

Love, Beauty, Reading

“What Keys, Laszlo, Falk, and many other New Agers arte proposing … could be called a "planetary guidance system."… A planetary guidance system would regulate the world, not run it…. Does this chapter strike you as impossibly idealistic? In 2011, Parag Khanna of the New America Foundation argued that a decentralized planetary guidance system is currently arising outside the confines of the United Nations. To Khanna, it consists of an ever-changing (depending on the issue) array of representatives of governments, non-governmental organizations (nonprofits), corporations, super-wealthy individuals, and universities. Although Khanna, a buttoned-down radical centrist, doesn't use terms like "synergic power" and "win-win approach," it is obvious from his text that that's exactly how (some of) these entities are beginning to operate in the global context.”

Mark Satin (1946) American political theorist, author, and newsletter publisher

Pages 132–33. The first sentence refers to early New Agers Donald F. Keys of Planetary Citizens, Ervin Laszlo, and Richard Falk.
New Age Politics: Our Only Real Alternative (2015)

World, Universe, Change, Dependency

“Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 429

Faith, Error, Literature, Teachers

“The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.”

Donald Judd (1928–1994) artist

Donald Judd (1963), quoted in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html" 1960s

Painting

“Your face had become dark, and, upon the day's awakening, your ashes will disperse themselves throughout the garden.
Your ashes will fly to the sky, to make love with the stars.
Sandy, Sandy, your ashes caress the rainbow flowers that tickle the blue of the sky.
[short poem of Miro, on the death of his good old art-paw, the inventor of the 'mobile', Sandy Calder ]”

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

1961 and later
Source: his 'Foreword', Barcelona 1977; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 309

Love, Death, Making love, Star

“Much individual enterprise in industry does not make for industrial progress. A larger and larger proportion of the energy given out in trade competition is consumed in violent warfare between trade rivals and is not represented either in advancement of industrial arts or in increase of material wealth.”

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

Section 11, p. 418-419
The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development

Wealth

“Fame in arms or art, however conspicuous, is naught, unless bottomed in virtue.”

Henry Lee III (1756–1818) American politician, governor and representative

Letter to his son, Charles Carter Lee, as quoted in R.E.Lee: A Biography (1934) by Douglas Southall Freeman, Vol. I, p.32.

“Everything influences you in the way that you present your art to other people and the way that you create your art for yourself. Life is pretty much the influence, so growing up in Orem, Utah, and growing up in the church is obviously a huge factor in it for me. But there's a few others in my band that weren't raised in the church. So it's a combination of a lot of things.”

Bert McCracken (1982) American musician

Brian Orloff (July 24, 2003) "Get Warped - AFI", St. Petersburg Times, p. 22W.

Life, People, Way

“Can any thing in this world be more foolish than to think that all this rare fabric of heaven and earth can come by chance, when all the skill of art is not able to make an oyster!”

Anatole France (1844–1924) French writer

Jeremy Taylor, "Apples of Sodom," Part II, Sermon XX of Twenty-Five Sermons for the Winter Half-Year, Preached at Golden Grove (1653)
Misattributed
Variant: What can be more foolish than to think that all this rare fabric of heaven and earth could come by chance, when all the skill of art is not able to make an oyster!

World, Thinking, Chance

“If the art of eloquence is the art of persuading, there is no other eloquence but that of saying the truth, only the truth, the naked truth. Words, since it is a necessity of our infirm nature to clothe thought, will be the more powerful the more they are suited to their aim, that is the more naked they will leave the truth, which resides in thought.”

Vincenzo Cuoco (1770–1823) Italian historian and writer

Se l'arte dell'eloquenza è l'arte di persuadere, non vi è altra eloquenza che quella di dire sempre il vero, il solo vero, il nudo vero. Le parole, onde è necessità di nostra inferma natura di rivestire il pensiero, saranno tanto più potenti, quanto più atte al fine, cioè più nudo lasceranno il vero, che è nel pensiero.
Platone in Italia

Truth, Nature, Clothes

“Those who proclaim and apply to poetic works a "theory of criticism," a "theoretical hermeneutic" are, today, the masters of the academy and the exemplars in the high gossip of arts and letters. Indeed, they have clarioned "the triumph of the theoretical." They are, in truth, either deceiving themselves or purloining from the immense prestige and confidence of science and technology an instrument ontologically inapplicable to their own material. They would enclose water in a sieve.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), II: The Broken Contract, Ch. 3 (p. 75).

Truth, Confidence, Water, Science

“For my generation, Judd posed the same problem as Picasso did for the Abstract Expressionists; you either had to go over, under, around, or through him. Conceptual, process, and Earth Art, each in their own way, constituted a rejection of the ‘speciﬁc object.”

Mel Bochner (1940) American artist

Mel Bochner (2005, p. 70) in: David Raskin. Donald Judd. New Haven: Yale University Press, 2010.

Way, Problem

“There are three departments of architecture: the art of building, the making of time-pieces, and the construction of machinery.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter III "The Departments of Architecture" Sec. 1

Time

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Idea, Nature, Painting

“Tommy locked his doors, armed his security system, replaced all the 9-volt batteries in his smoke detectors, made sure the gun in his dresser drawer was loaded, and went to bed where, before falling asleep, he recited a psalm from memory, with an emphasis on one line in particular: “yea, though I walk through the valley of the shadow of death, I will fear no evil; for thou art with me...””

Lis Wiehl (1961) American legal scholar

Source: Waking Hours: Book 1 in East Salem Trilogy with Pete Nelson (Thomas Nelson), p. 165

Death, Fear, Memory, Evil

“[the way of life of Die Brücke artists] though strange to the ordinary man, was not meant to shock, it was a pure and simple compulsion to integrate art and life..”

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

Quote in Expressionism, a German Intuition, 1905-1920: [Exhibition 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 7
undated

Life, Way

“It’s really life and death [not art]. When they tell you your mother is 80 years old but you cannot see her again, you can never call it performance art. Or when your son is three, and they tell you that when you are released he will be in his teens and can never recognize you as a father. You feel terrible inside, to lose those chances. Each day, they tell you, 'You will spend your life day after day the same, minute after minute the same. You just have to pay [with] your life for this kind of so-called freedom that you are fighting for.”

Ai Weiwei (1957) Chinese concept artist

There is no sense of justice there. Why do I have to do this with them? Why do I have to argue or play this game?"
2010-, You’re There but You’re Not Existing, 2012

Life, Death, Justice, Feeling

“My soul is a canvas stretched across four wooden corners and tacked with copper nails that sink into the edges of timber like teeth. My art is nothing less than my salvation.”

Keariene Muizz (1977) American artist

New York Arts Magazine (December 2008)

Soul

“I was blessed by God with a talent to express myself through the art-form called music, I eventually found love in it and had no other choice than to embrace it and ever since, I’ve come to enjoy it; I feel like I was born to do it and I really want to continue to make music. To me, it’s sort of like life because I can relate it with everything that happens around me.”

Slim Burna (1988) Nigerian singer and record producer

" Slim Burna-Burn it up! http://www.afro-hits.com/slim-burna-burn-it-up/", Afro-Hits (September 2nd, 2013)

Love, Life, God, Music

“My art is the essence of my experience, not a representation of it.”

Richard Long (1945) artist

Richard Long (1982), cited in: Description of the exhibition Concentrations IX: Richard Long, March 31–July 8, 1984 at the Dallas Museum of Art http://texashistory.unt.edu/ark:/67531/metapth224905/m1/1/. 1980s

“Dancing is the loftiest, the most moving, the most beautiful of the arts, because it is no mere translation or abstraction from life; it is life itself.”

H. Havelock Ellis (1859–1939) British physician, writer, and social reformer

Source: The Dance of Life http://www.gutenberg.net.au/ebooks03/0300671.txt (1923), Ch. 2

Life, Beauty, Dance

“Progressive art can assist people to learn not only about the objective forces at work in the society in which they live, but also about the intensely social character of their interior lives. Ultimately, it can propel people toward social emancipation.”

Angela Davis (1944) American political activist, scholar, and author

"For a People's Culture." Political Affairs, March 1995.

People, Learning

“Once thou art wed, no longer canst thou be
Lord of thyself.”

Alexis (-372–-270 BC) Athenian poet of Middle Comedy

Fabulae Incertae, Fragment 34, 7.

Wedding

“The greatness of human actions is measured by the inspiration that it brings. Blessed is he who carries within himself a God, an ideal of beauty and obeys it: an ideal of art, ideal of science, ideal of country, ideal virtues of the Gospel! These are the wellsprings of great thoughts and great actions. All reflections illuminate infinity.”

Louis Pasteur (1822–1895) French chemist and microbiologist

Variant translations:
Blessed is he who carries within himself a God, an ideal, and who obeys it: ideal of art, ideal of science, ideal of the gospel virtues, therein lie the springs of great thoughts and great actions; they all reflect light from the Infinite. (As quoted by Sir William Osler in his introduction to The Life of Pasteur (1907) by Rene Vallery-Radot, as translated by R .L. Devonshire (1923)
Blessed is he who carries within himself a god and an ideal and who obeys it — an ideal of art, of science, or gospel virtues. Therein lie the springs of great thoughts and great actions; they all reflect light from the Infinite. (As quoted in The Wordsworth Dictionary of Quotations (1998) by Connie Robertson, p. 320)
Discours de réception de Louis Pasteur (1882)
Original: (fr) La grandeur des actions humaines se mesure à l’inspiration qui les fait naître. Heureux celui qui porte en soi un Dieu, un idéal de la beauté et qui lui obéit : idéal de l’art, idéal de la science, idéal de la patrie, idéal des vertus de l’Évangile! Ce sont là les sources vives des grandes pensées et des grandes actions. Toutes s’éclairent des reflets de l’infini.

God, Beauty, Science, Country

“Lautrec was still satisfying his rather classical art-teacher Cormon in Paris. The unreal conventions of Cormon imposed and discouraged him, according to Henri Perruchot”

Henri de Toulouse-Lautrec (1864–1901) French painter

1879-1884, T-Lautrec, by Henri Perruchot

Teachers

“International language of the forthcoming generations will be solely and by necessity only a language of art.”

Ludoviko Lazaro Zamenhof (1859–1917) Polish ophthalmologist and inventor of Esperanto

Fundamenta Krestomatio http://www.gutenberg.org/etext/8224, by Ludwik Lejzer Zamenhof, first published in 1903

“Art is gushing hot bile on the fields and harvesting the looks of nasty dwarfs.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 216 (2003)

“I don't understand quite a good deal of what is said by Art-Language, but I admire the investigatory energies, the tireless spade-work (not calling one one), the full commitment to the reestablishment of a valid language by which to discuss art and the occasional humour in their writings. The chaos in their reasons fascinates me, but it is also irritating to be unequipped to evaluate their work. I don't know how it is or if it is evaluated by adepts in philosophy as philosophy, but I find it infuriating to have to take them on faith.”

Lucy R. Lippard (1937) American art curator

Source: Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973), p.151.

Faith, Understanding

“In such fundamental considerations it would be surprising if many new concepts appear, for countless good minds have worked long on these matters over many years. Indeed, new original ideas should at first be suspect, though if they withstand examination they should be welcomed. My intent is not to create a new school or art form but to discern the pattern of a mosaic which lies hidden in the cluttered, colored marble chips of today's empirical facts.”

James Grier Miller (1916–2002) biologist

Source: Living Systems: Basic Concepts (1969), p. 126-127

School, Color, Idea, Appearance

“Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 23

Pain, Disease, Suffering, Painting

“Rocking on a lazy billow
With roaming eyes,
Cushioned on a dreamy pillow,
Thou art now wise.
Wake the power within thee slumbering,
Trim the plot that's in thy keeping,
Thou wilt bless the task when reaping
Sweet labour's prize.”

John Stuart Blackie (1809–1895) Scottish scholar and man of letters

Address to the Edinburgh Students. Quoted by Lord Iddlesleigh, Desultory Reading; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 756.

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women, Men, People, Books

“Professionalism has no place in art, and hacking is art. Software Engineering might be science; but that's not what I do. I'm a hacker, not an engineer.”

Jamie Zawinski (1968) American programmer

http://phd.pp.ru/Texts/fun/signatures.txt
PP
RU
Texts
Signatures.

Science

“I have just read your book [On the Spiritual in Art] from cover to cover, and I will read it once more. I find it pleasing to an extraordinary degree, because we agree on nearly all of the main issues..”

Arnold Schoenberg (1874–1951) Austrian-American composer

In a letter to Wassily Kandinsky, 18 Dec. 1911; as quoted in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an Informa Group company), 2003, p. 15-16 note 49
1910s

Books, Reading

“War was return of earth to ugly earth,
War was foundering of sublimities,
Extinction of each happy art and faith
By which the world had still kept head in air.”

Robert Graves (1895–1985) English poet and novelist

"Recalling War," lines 31–34, from Collected Poems 1938 (1938).
Poems

War, Happiness, World, Faith

“My whole area of art activity has always been addressed to working with other people... You see, I personally like the sensual contact of collaborating. Ideas are not real estate. In collaboration one can accept the fact that someone else can be so sympathetic and in tune with what you’re doing, that through this they move into depths that might not be obvious if that person had been working alone in a studio with the door shut.”

Robert Rauschenberg (1925–2008) American artist

Quote from Breaking Bounderies.., Robert S. Mattison, exhibition catalogue Whitney Museum, 1994, p. 3
1990's

People, Idea, Personality

“Sincerity is an openness of heart; we find it in very few people; what we usually see is only an artful dissimulation to win the confidence of others.”

François de La Rochefoucauld book Reflections; or Sentences and Moral Maxims

La sincérité est une ouverture de coeur. On la trouve en fort peu de gens; et celle que l'on voit d'ordinaire n'est qu'une fine dissimulation pour attirer la confiance des autres.
Maxim 62.
Reflections; or Sentences and Moral Maxims (1665–1678)

People, Confidence, Heart, Sincerity

“An example of this way of thinking is an exchange that took place when someone told Goethe that he admired him for his genius, towering over German intellectual life like a gigantic mountain, to which Goethe replied that "great mountains are found only in mountainous landscapes." The traditional history of art is concerned exclusively which such mountain peaks, and often, as Goethe critically pointed out, they are not even seen in relation to each other.”

Asger Jorn (1914–1973) Danish artist

Jorn's quote, on the publication of the book Thidrek of Folk Art (1948)
1949 - 1958, Various sources

Life, Way, History, Mountain

“I don’t have this concept that separates my art from my daily life. They are one thing to me. They are always one. How do you find the way to express yourself and how to communicate with others?”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei Does Not Feel Powerful, 2011

Life, Way, Communication

“I care not for these ladies,
That must be wooed and prayed;
Give me kind Amaryllis,
The wanton country maid.
Nature art disdaineth;
Her beauty is her own.”

Thomas Campion (1567–1620) English composer, poet and physician

I Care Not for These Ladies (1601), reported in Arthur Henry Bullen, More lyrics from the song-books of the Elizabethan Age (1888), p. 48.

Beauty, Nature, Country

“Pevsner's career is a prism through which to view the world of art history as it developed in England in the middle of the twentieth century.”

Nikolaus Pevsner (1902–1983) German-born British scholar

Susie Harries, "Nikolaus Pevsner: The Life" (2011), page ix
About

World, History

“Just because Beethoven doesn’t sound like currently popular art doesn’t mean his music is worthless.”

John Varley (1947) American science fiction author

"The Phantom of Kansas" (1976), The World Treasury of Science Fiction (ed. David Hartwell), p. 375

Music

“Humans… entered the 'cognitive niche.' Remember the definition of intelligence from Chapter 2: using knowledge of how things work to attain goals in the face of obstacles. By learning which manipulations achieve which goals, humans have mastered the art of the surprise attack. They use novel, goal-oriented courses of action to overcome the Maginot Line defenses of other organisms, which can respond only over evolutionary time. The manipulations can be novel because human knowledge is not just couched in concrete instructions like 'how to catch a rabbit.' Humans analyze the world using intuitive theories of objects, forces, paths, places, manners, states, substances, hidden biochemical essences, and, for other animals and people, beliefs and desires…. People compose new knowledge and plans by mentally playing out combinatorial interactions among these laws in their mind's eye.”

Steven Pinker book How the Mind Works

Source: How the Mind Works (1997), p. 188

People, World, Law, Intelligence

“I think America concedes that (true American music) has sprung from the negro. When we take these things that come from the art of the Negro and from the heart of the man farthest down.”

W. C. Handy (1873–1958) American blues composer and musician

Music Preservation Society biography http://www.wchandymusicfestival.org/downloads/HandyBiography.pdf

Music, Thinking, Heart

“It is a nation of contradictions, sir. Consider this: Ireland is an island nation that has never developed a navy; a music-loving people who have produced only those harmless lilting ditties as their musical legacy; a bellicose people who have never known the sweet savor of victory in a single war; a Catholic country that has never produced a single doctor of the Church; a magnificently beautiful country, a country to inspire artists, but a country not yet immortalized in art; a philosophic people yet to produce a single philosopher of note; a sensual people who have never mastered the art of preparing food.”

Pat Conroy The Lords of Discipline

p 274. Said by character Colonel Edward T. Reynolds.
The Lords of Discipline (1980)

Love, War, People, Food

“I have nothing to teach you that will help you to make a living. [as art teacher, advising his students]”

John Sloan (1871–1951) American painter

Source: Loughery, John. John Sloan: Painter and Rebel. New York: Henry Holt, 1995. , pp. 224-225

Teachers, Help

“For ten years we had all been told to go out and die for freedom and democracy; but now the war was over, The Red Shoes told us to go out and die for art.”

Michael Powell (1905–1990) English film director

Attributed

War, Shoe, Democracy, Freedom

“Seventy years ago there were men like D. W. Griffith and seventy years later - now - there are not many men like Martin Scorsese. But so long as there is one there will be others, and the art of the cinema will survive.”

Michael Powell (1905–1990) English film director

Attributed

Men

“I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image.”

Stuart Davis (1892–1964) American painter

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Law, Color, Way, Communication

“The art of living is the art of knowing how to believe lies. The fearful thing about it is that, not knowing what truth may be, we can still recognize lies.”

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

This Business of Living (1935-1950)

Truth, Fear

“A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.”

Helen Frankenthaler (1928–2011) American artist

Quote by Barbara Rose, in Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85
1970s - 1980s

Beauty, Thinking, Effort, Reading

“Politics is not a self-enclosed activity, organically generating a body of concepts internal to it. What counts as a set of ideas with a bearing on the political conflicts of a time varies according to epoch and region. Today it stretches far beyond the purview of political science, traditionally conceived. Philosophy, economics, history, sociology, psychology, not to speak of the earth and life sciences, and the arts, all intersect at different points with terrain of politics, in its classic definition.”

Perry Anderson (1938) British historian

Source: Spectrum: From Right to Left in the World of Ideas (2005), Foreword, p. xi

Life, History, Idea, Science

“I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature”

Piet Mondrian (1872–1944) Peintre Néerlandais

like in Neo-Plasticism / De Stijl
Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 136
1920's

People, Question, Nature, Reality

“Once again I talked with some painters, but the modern artists [in The Netherlands ] write more than they paint. If you write about art in such a way and you want to paint always with a fixed plan, then you will lose completely the deep, glorious and spontaneous art. You always have to create the new from the very deep, inside.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich habe wieder einige Maler gesprochen, aber die Modernen [in Nederland] schreiben mehr als sie malen. Wenn man so über Kunst schreibt und immer so mit einem festen Plan malen will, dan verliert man ganz und gar die tiefe, herrliche, spontane Kunst. Man muss so ganz tief heraus immer Neuses schaffen.
in a letter to Herwarth Walden, 23 July 1915; the 'Sturm'-Archive, Berlin
very probably Jacoba is refering here to the Dutch Stijl-artists, as Piet Mondrian and Theo v. Doesburg
1910's

Way, Painting

“Art advances by self-mutilation of the artist.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 54

“My canvas soothes me into forgetfulness of the scene of turmoil and folly — and worse — of the scene around me. Every gleam of sunshine is blighted to me in the art at least. Can it therefore be wondered at that I paint continual storms? "Tempest o'er tempest roll'd"”

John Constable (1776–1837) English Romantic painter

still the "darkness" is majestic.
Letter to C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; also quoted in Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7, ch. 3, p. 91
1830s

Painting, Forgetting

“Our arts, particularly music, are more livelier than any sport. I play with my `raagas.' And there is no defeat here. Only victory for everyone - singers, listeners and the music itself.”

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

Source: Staff Reporter, "Mangalampalli can't wait to come home"
On his singing on the occasion of an India-Pakistan cricket match.

Music, Sport, Victory

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, 1940 - 1948, Various sources

Dreams, Color, Error, Problem

“Contemporary feminists, who are generally poor or narrowly trained scholars, insist on viewing history as a weepy scenario of male oppression and female victimization. But it is more accurate to see men, driven by sexual anxiety away from their mothers, forming group alliances by male bonding to create complex structures of society, art, science and technology.”

Camille Paglia (1947) American writer

Source: Sex, Art and American Culture : New Essays (1992), p. 23

Men, History, Science, Training

“I have a theory of my own about what this art of the novel is, and how it came into being. To begin with, it does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.”

Arthur Waley (1889–1966) British academic

Source: Translations, The Tale of Genji (1925–1933), Ch. 25: 'The Glow-Worm'

Men, Passion, Heart, Personality

“Pitching is the art of instilling fear.”

Sandy Koufax (1935) American baseball player

As quoted in Involvements : One Journalist's Place in the World (1984) by Colman McCarthy, p. 243

Fear

“I was introduced to the great philosophical systems of the past to which the Western universities have given their blessing, arranging and classifying them with the delicate care lavished on museum pieces. When once these systems were so handled, it was natural that they should be regarded as monuments of human intellection. And monuments, because they mark achievements at their particular point in history, soon become conservative in the impression which they make on posterity. I was introduced to Plato, Aristotle, Descartes, Kant, Hegel, Schopenhauer, Nietzsche, Marx and other immortals, to whom I should like to refer as the university philosophers. But these titans were expounded in such a way that a student from a colony could easily find his breast agitated by Conflicting attitudes. These attitudes can have effects which spread out over a whole society, should such a student finally pursue a political life. A colonial student does not by origin belong to the intellectual history in which the university philosophers are such impressive landmarks. The colonial student can be so seduced by these attempts to give a philosophical account of the universe, that surrenders his whole personality to them. When he does this, he loses sight of the fundamental social fact that he is a colonial subject. In this way, he omits to draw from his education and from the concern displayed by the great philosophers for human problems, anything which he might relate to the very real problem of colonial domination, which, as it happens, conditions the immediate life of every colonized African. With single-minded devotion, the colonial student meanders through the intricacies of the philosophical systems. And yet these systems did aim at providing a philosophical account ofthe world in the circumstances and conditions of their time. For even philosophical systems are facts of history. By the time, however, that they come to be accepted in the universities for exposition, they have lost the vital power which they had at their first statement, they have shed their dynamism and polemic reference. This is a result of the academic treatment which they are given. The academic treatment is the result of an attitude to philosophical systems as though there was nothing to them hut statements standing in logical relation to one another. This defective approach to scholarship was suffered hy different categories of colonial student. Many of them had heen handpicked and, so to say, carried certificates ofworthiness with them. These were considered fit to become enlightened servants of the colonial administration. The process by which this category of student became fit usually started at an early age, for not infrequently they had lost contact early in life with their traditional background. By reason of their lack of contact with their own roots, they became prone to accept some theory of universalism, provided it was expressed in vague, mellifluous terms. Armed with their universalism, they carried away from their university courses an attitude entirely at variance with the concrete reality of their people and their struggle. When they came across doctrines of a combative nature, like those of Marxism, they reduced them to arid abstractions, to common-room subtleties. In this way, through the good graces oftheir colonialist patrons, these students, now competent in the art of forming not a concrete environmental view of social political problems, but an abstract, 'liberal' outlook, began to fulfil the hopes and expectations oftheir guides and guardians.”

Kwame Nkrumah (1909–1972) Pan Africanist and First Prime Minister and President of Ghana

Source: Consciencism (1964), Introduction, pp. 2-4.

Life, People, Age, World

“Fautrier's exhibition [in Paris 1945] made an extremely strong impression on me. Art had never before appeared so fully realised in its pure state. The word 'art' had never before been so loaded with meaning for me.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, pp. 23,28: quote in Dubuffet's letter to Jean Paulhan (letter 108)

Strong, Appearance

“I have been accused of being a joker. But the most successful art to me involves humor.”

Man Ray (1890–1976) American artist and photographer

As quoted in an interview "Man Ray: Photographer" published in Camera (1981) edited by Philippe Sers

Success

“I see art-making, especially that which comes from the margins of the mainstream, as a site of resistance, a way of interrupting and intervening in those historical and cultural fields that continually exclude me, a sort of gathering of forces on the borders. For the dominant hegemonic stance that has worked to silence and subdue gender and ethnic difference has also silenced difference based on sexual preference.”

Harmony Hammond (1944) artist

From Women, Art, and Society: Fourth Edition (2007) by Whitney Chadwick ISBN 0-500-20393-8.

Way, Silence

“Well, art is reality, art is a muse if it helps us to realise the truth. It is the major guiding element which helps you to realise the truth.”

S. H. Raza (1922–2016) Indian artist

Culture:S.H. Raza Comes in Full Circle

Truth, Reality, Help

“Both art and the artist lack identity and define themselves only through their encounter with each other.”

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

Source: Art & Other Serious Matters, (1985), p. 155, "Willem de Kooning"

“Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future”

Fernand Léger (1881–1955) French painter

Fernand Léger – Das Figürliche Werk, exhibition catalogue, Köln, 1978, p. 52
Quotes of Fernand Leger, 1970's

Life, Law, Sense, Tear

“The divine element manifests itself (or show up) in man as well by his aptitude for science, than by his aptitude for virtue. True morality, true philosophy and true art are in their essence ("dans leur essence", Fr.) religious."”

African Spir (1837–1890) Russian philosopher

Source: Words of a Sage : Selected thoughts of African Spir (1937), p. 40.

Science

“The more a man cultivates the arts, the less randy he becomes.”

Charles Baudelaire (1821–1867) French poet

Plus l'homme cultive les arts, moins il bande.
Variant translation: The more a man cultivates the arts the less he fornicates.
Journaux intimes (1864–1867; published 1887), Mon cœur mis à nu (1864)

“The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 42

Death, Soul, Idea, Personality

Quotes about art page 31

Quotes about art
page 31