Quotes about art
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“The nation state has never been associated with peace on earth. Its most powerful recommendation and record is, as a matter of fact, as a wager of war. The history of nation states is written around the dates of war, not peace, around arms and not arts. The organization of warfare without the coercive power of the nation state is simply unimaginable at the scale with which we have become familiar.”

Karl Hess (1923–1994) American journalist

Foreword (1984) to The Market for Liberty (1970)

War, Peace, History

“Naturally man tended to lose his sense of scale and relation. A straight line, or a combination of straight lines, may have still a sort of artistic unity, but what can be done in art with a series of negative symbols? Even if the negative were continuous, the artist might express at least a negation; but supposing that Omar's kinetic analogy of the ball and the players turned out to be a scientific formula! supposing that the highest scientific authority, in order to obtain any unity at all, had to resort to the middle-ages for an imaginary demon to sort his atoms! how could art deal with such problems, and what wonder that art lost unity with philosophy and science! Art had to be confused in order to express confusion; but perhaps it was truest, so.”

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

Adams alludes to a well-known passage from the Rubaiyat of Omar Khayyam. In Edward FitzGerald's translation:The Ball no Question makes of Ayes and Noes,
But Right and Left as strikes the Player goes;
And He that toss'd Thee down into the Field,
He knows about it all — HE knows — HE knows!
Mont Saint Michel and Chartres (1904)

Age, Nature, Problem, Sense

“The U. S. stock market was now a class system, rooted in speed, of haves and have-nots. The haves paid for nanoseconds; the have-nots had no idea that a nanosecond had value. The haves enjoyed a perfect view of the market; the have-nots never saw the market at all. What had once been the world’s most public, most democratic, financial market had become, in spirit, something like a private viewing of a stolen work of art.”

Michael Lewis book Flash Boys

Source: Flash Boys (2014), p. 69

World, Idea, Speed, Perfection

“The mathematical activity of Ancient Greece reached its peak during the glorious era of Euclid, Eratosthenes, Archimedes and Apollonius, a time when Greek letters, art and philosophy were already on the decline. …it was not Greece proper but its outposts in Asia Minor, in Lower Italy, in Africa that had contributed most to the development of mathematics.”

Tobias Dantzig (1884–1956) American mathematician

The Bequest of the Greeks (1955)

Mathematics, Time

“We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown.”

Asger Jorn (1914–1973) Danish artist

Statement of 1963, as quoted in Asger Jorn (2002) by Arken Museum of Modern Art, p. 52
1959 - 1973, Various sources

Life, Animals

“People often say, 'Ah, ultimate fighting is so violent,' but it's rooted in martial arts. Martial arts incarnate respect. You can't walk into a dojo and say to your sensei, 'Hey, salut tabarnac!' After every one of my fights I go and shake the hand of my opponent. I don't need to hate the other fighter to fight him well. It's a sport.”

Georges St. Pierre (1981) Canadian mixed martial artist

Interview with Isa Tousignant
MMA
Source: [Interview with Isa Tousignant]

Hate, People, Sport, Fight

“The seventeenth-century academic separation between fine and useful arts first fell out of fashion nearly a century ago.”

George Kubler (1912–1996) American art historian

George Kubler (1961), cited in: Guido Guerzoni (2011). Apollo and Vulcan: The Art Markets in Italy, 1400-1700. p. 27

Fashion

“If all the wisdom of the world and all its art—all the spoils that it has won from nature, all the fire that it has snatched from heaven—were gathered together and divided into heaps, and we could point and say, for instance, these mighty truths were flashed forth in the brilliant salon amid the ripple of light laughter and the sparkle of bright eyes; and this deep knowledge was dug up in the quiet study, where the bust of Pallas looks serenely down on the leather-scented shelves; and this heap belongs to the crowded street; and that to the daisied field—the heap that would tower up high above the rest as a mountain above hills would be the one at which we should look up and say: this noblest pile of all—these glorious paintings and this wondrous music, these trumpet words, these solemn thoughts, these daring deeds, they were forged and fashioned amid misery and pain in the sordid squalor of the city garret. There, from their eyries, while the world heaved and throbbed below, the kings of men sent forth their eagle thoughts to wing their flight through the ages. There, where the sunlight streaming through the broken panes fell on rotting boards and crumbling walls; there, from their lofty thrones, those rag-clothed Joves have hurled their thunderbolts and shaken, before now, the earth to its foundations.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Wisdom, Men, Pain, Truth

“The enormous amount of financial resources and creative energy that nations have spent on wars and weapons could have been redirected to curing deadly diseases, feeding the hungry, eliminating poverty, promoting art and culture, investing in renewable clean energy, and solving a host of other important challenges facing humanity.”

Newton Lee American computer scientist

Counterterrorism and Cybersecurity: Total Information Awareness (2nd Edition), 2015

War, Disease

“These children…well, they have no concept. None. All they want to do is win. That is your culture. America spoils chess, as it spoils all things. Art? What art? Winning, all you Americans can think of is winning. Winning and getting rich. Your country is too young to have so much power. Too immature. Yet, because of your power, everybody pays attention. Everybody. You are teaching the world that only one thing matters!”

Stephen L. Carter book The Emperor of Ocean Park

Karl, Ch. 26, Sam Loyd's Challenge
The Emperor of Ocean Park (2002)

Children, World, Thinking, Country

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

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

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World, Reality, Painting

“[that all differences among the former Brücke members should be put in the past and that].. every individual conflict must be silenced and that everyone join together in the name of the whole, that is for our modern German art.”

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

In a letter to Hans Fehr, 1937; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 338 (transl. (transl. Claire Albiez)
When die Brücke was shown at the infamous 'Degenerate Art' show in Munich by the Nazi's in 1937, Kirchner wrote this to Hans Fehr
1930's

Silence, Past

“So weak thou art, that fools thy power despise;
And yet so strong, thou triumph'st o'er the wise.”

Jonathan Swift (1667–1745) Anglo-Irish satirist, essayist, and poet

To Love, found in Miss Vanhomrigh's desk after her death, in Swift's handwriting

Fools, Strong

“We cannot inherit a fixed, unmoving view of life and of art from the past generation. The expression of art is in any period different, as are our experiences. A new experience creates a new form. We like to learn all we need from earlier generations, but we have to find out for ourselves what we need; nobody else can do that for us. It is not our business to receive and work on what the earlier generation might want us to work on. On the other hand, it is its business to help us where we want its help.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Life, Business, Learning, Past

“The art of writing history is the art of emphasizing the significant facts at the expense of the insignificant. And it is the same in every field of knowledge. Knowledge is power only if a man knows what facts not to bother about.”

Robert Wilson Lynd (1879–1949) Irish writer

Robert Lynd (1926) The orange tree: a volume of essays. p.60. The last sentence "Knowledge is power only if a man knows what facts not to bother about." was cited in some sources in the 1960s, such as August Kerber (1968) Quotable quotes on education. p.190, and in multiple other sources ever since.

History, Knowledge

“In art, in taste, in life, in speech, you decide from feeling, and not from reason … If we were obliged to enter into a theoretical deliberation on every occasion before we act, life would be at a stand, and Art would be impracticable.”

William Hazlitt (1778–1830) English writer

"On Genius and Common Sense" Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

Life, Feeling

“My work is based on a tradition quite distinct from the Eckersberg tradition, a Nordic line of development that had never been clearly and consistently defined in the literature on art. This line is not a straight one; it has the strangest and most fascinating twists and curves, and includes such artists as Edvard Munch, Ernest Josephson, Hill, Hansen Jacobsen, Johannes Holbek, Jens Lund, and Emile Nolde. Not all of them equally well known.”

Asger Jorn (1914–1973) Danish artist

Statement in the late 1960s, as quoted in Fortaelleren Asger Jorn (1984) by Gunnar Jespersen, p. 121
1959 - 1973, Various sources

Literature

“I often say that sociology is a martial art, a means of self-defense. Basically, you use it to defend yourself, without having the right to use it for unfair attacks.”

Pierre Bourdieu (1930–2002) French sociologist, anthropologist, and philosopher

(2000), La Sociologie est un sport de combat; cited in: John Horne, Wolfram Manzenreiter (2004), Football Goes East. p. xii

“No one is so busy that he hasn't the time to dismantle a work of art.”

Halldór Laxness book Kristnihald undir Jökli (bók)

Pastor Jón Prímus
Kristnihald undir Jökli (Under the Glacier/Christianity at Glacier) (1968)

Business, Time

“Light and air, that's art! I can never give enough light in my paintings, especially in the skies. The air in a painting, that is really a thing! It is the main thing! Air and light are the great magicians. It is the sky which prescribes the painting. Painters never look enough at the sky. We must get it from above. (translation from Dutch, Fons Heijnsbroek, 2018)”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Licht en lucht, dat is de kunst! Ik kan in m'n schilderijen, vooral in de luchten, nooit licht genoeg brengen.. .De lucht op een schilderij, dat is een ding! Een hoofdzaak! Lucht en licht zijn de groote toovenaars. De lucht bepaalt het schilderij. Schilders kunnen nooit genoeg naar de lucht kijken. Wij moeten het van boven hebben.
Quote of J. H. Weissenbruch; as cited in J.H. Weissenbruch 1824-1903, ed. E. Jacobs, H. Janssen & M. van Heteren; exposition-catalog, Museum Jan Cunen / Gemeentemuseum Den Haag, Zwolle 1999, pp. 227-233

Light, Painting

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

Beauty, Hope, Feeling, Soul

“A work of art is not about something, it is something, in the same way that life is not something that has meaning, only significance. And art's intentions are entirely innocent – no comment, no opinion, no attempted coercion. All – all! – art attempts to do is to quicken the sense of life, to make vivid for the reader the mysterious predicament of being alive for a brief span in this exquisite and terrible world.”

John Banville (1945) Irish writer

Fully Booked: Q & A with John Banville (2012)

Life, World, Way, Sense

“One clashes with stupidity of all kinds. And then how much money must be spent in advance! The way in which artists are treated is really scandalous. I am compelled to give a third of my receipts to the manager of the theatre and a fifth to the hospitals. Devil take them! As long as these abuses exist, I shall always ask whether music is or is not an art that may be freely exercised. Believe me, there is nothing to be done for artists in times like these.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

24th November, 1814
Source: Johann Wenzel Tomaschek, "A Talk with Beethoven", The Musical Times and Singing Class Circular, Vol. 33, Beethoven Supplement (Dec. 15, 1892)

Money, Stupidity, Music, Way

“You tell the big lie by carefully selecting only the small, isolated truths, linking them in such a way that that advance the bigger lie by painting a picture inside the viewer's head. The Ascended High Master of this Dark Art is Noam Chomsky.”

Bill Whittle (1959) author, director, screenwriter, editor

MAGIC https://web.archive.org/web/20030602124318/http://www.ejectejecteject.com/archives/000051.html (18 May 2003) 2000s

Truth, Lie, Way, Painting

“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour... And now I leave these small – but to me – important works to the future and to the people who love art.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938 - after 1937 Jawlensky couldn't paint any longer because of severe arthritis
Source: 1936 - 1941, Life Memories' (1938), p. 249

Love, People, Future, Painting

“On Thee we fling our burdening woe,
O love Divine, forever dear:
Content to suffer, while we know,
Living and dying, Thou art near!”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 596.

Love, Suffering

“Well I think that my main concern is that there is a market lack of desire for quote-unquote art that people are creating and appreciating. I think because there’s a lack of desire for that, which translates to the creation and elevation of art that then thereby lack substance because there’s no desire for it, there’s no appreciation for it. It self-perpetuates a world in which the hollow, the vapid and the greedy are elevated and revered. That bothers me because art is so important whether it’s design, fine art, film, fashion, things that are important to the world. It’s what makes me want to wake up in the morning, it drives me.”

Davey Havok (1975) American singer

Asked what concerns him the most about the society today. The Aquarian, November 2009 http://www.theaquarian.com/2009/11/06/interview-davey-havok-afi-conspicuous-composition/

People, World, Quotes, Fashion

“We are all Greeks. Our laws, our literature, our religion, our arts have their root in Greece.”

Percy Bysshe Shelley Hellas

Preface
Hellas (1821)

Religion, Law, Literature

“Living in a system under the Communist ideology, an artist cannot avoid fighting for freedom of expression. You always have to be aware that art is not only a self-expression but a demonstration of human rights and dignity. To express yourself freely, a right as personal as it is, has always been difficult, given the political situation.”

Ai Weiwei (1957) Chinese concept artist

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

Freedom, Fight, Personality

“The hardest part of doing anything creatively is just getting up and doing. Once I get out of bed and get into my art room, I start painting. I'm there. And I'm doing it.”

Frances Bean Cobain (1992) American artist

" Frances Bean Cobain on Life After Kurt's Death: An Exclusive Q&A http://www.rollingstone.com/music/features/frances-bean-life-after-kurt-cobain-death-exclusive-interview-20150408" (2015)

Parting, Painting

“Can we ring the bells backward? Can we unlearn the arts that pretend to civilize, and then burn the world? There is a march of science; but who shall beat the drums for its retreat?”

Charles Lamb (1775–1834) English essayist

Letter to George Dyer (December 20, 1830)

World, Science

“But now in this Valley of Humiliation poor Christian was hard put to it, for he had gone but a little way before he espied a foul Fiend coming over the field to meet him; his name is Apollyon. Then did Christian begin to be afraid, and to cast in his mind whether to go back, or to stand his ground. But he considered again, that he had no Armor for his back, and therefore thought that to turn the back to him might give him greater advantage with ease to pierce him with his Darts; therefore he resolved to venture, and stand his ground. For thought he, had I no more in mine eye than the saving of my life, 'twould be the best way to stand.
So he went on, and Apollyon met him. Now the Monster was hideous to behold, he was cloathed with scales like a Fish (and they are his pride) he had Wings like a Dragon, feet like a Bear, and out of his belly came Fire and Smoke, and his mouth was as the mouth of a Lion. When he was come up to Christian, he beheld him with a disdainful countenance, and thus began to question with him.
Apollyon: Whence come you, and whither are you bound?
Christian: I am come from the City of Destruction, which is the place of all evil, and am going to the City of Zion.
Apollyon: By this I perceive thou art one of my Subjects, for all that Country is mine; and I am the Prince and God of it. How is it then that thou hast run away from thy King? Were it not that I hope thou mayest do me more service, I would strike thee now at one blow to the ground.
Christian: I was born indeed in your Dominions, but your service was hard, and your wages such as a man could not live on, for the wages of Sin is death; therefore when I was come to years, I did as other considerate persons do, look out if perhaps I might mend my self.
Apollyon: There is no Prince that will thus lightly lose his Subjects, neither will I as yet lose thee. But since thou complainest of thy service and wages be content to go back; what our Country will afford, I do here promise to give thee.
Christian: But I have let myself to another, even to the King of Princes, and how can I with fairness go back with thee?
Apollyon: Thou hast done in this, according to the Proverb, Changed a bad for a worse: but it is ordinary for those that have professed themselves his Servants, after a while to give him the slip, and return again to me: do thou so to, and all shall be well.
Christian: I have given him my faith, and sworn my Allegiance to him; how then can I go back from this, and not be hanged as a Traitor?
Apollyon: Thou didst the same to me, and yet I am willing to pass by all, if now thou wilt yet turn again, and go back.
Christian: What I promised thee was in my nonage; and besides, I count that the Prince under whose Banner now I stand, is able to absolve me; yea, and to pardon also what I did as to my compliance with thee: and besides, (O thou destroying Apollyon) to speak truth, I like his Service, his Wages, his Servants, his Government, his Company, and Country better than thine: and, therefore, leave off to perswade me further, I am his Servant, and I will follow him.
Apollyon: Consider again when thou art in cool blood, what thou art like to meet with in the way that thou goest. Thou knowest that for the most part, his Servants come to an ill end, because they are transgressors against me, and my ways. How many of them have been put to shameful deaths! and besides, thou countest his service better than mine, whereas he never came yet from the place where he is, to deliver any that served him out of our hands; but as for me, how many times, as all the World very well knows, have I delivered, either by power or fraud, those that have faithfully served me, from him and his, though taken by them, and so I will deliver thee.
Christian: His forbearing at present to deliver them, is on purpose to try their love, whether they will cleave to him to the end: and as for the ill end thou sayest they come to, that is most glorious in their account. For for present deliverance, they do not much expect it; for they stay for their Glory, and then they shall have it, when their Prince comes in his, and the Glory of the Angels.
Apollyon: Thou hast already been unfaithful in thy service to him, and how doest thou think to receive wages of him?
Christian: Wherein, O Apollyon, have I been unfaithful to him?
Apollyon: Thou didst faint at first setting out, when thou wast almost choked in the Gulf of Dispond; thou didst attempt wrong ways to be rid of thy burden, whereas thou shouldest have stayed till thy Prince had taken it off: thou didst sinfully sleep and lose thy choice thing: thou wast also almost perswaded to go back, at the sight of the Lions; and when thou talkest of thy Journey, and of what thou hast heard, and seen, thou art inwardly desirous of vain-glory in all that thou sayest or doest.
Christian:All this is true, and much more, which thou hast left out; but the Prince whom I serve and honour, is merciful, and ready to forgive: but besides, these infirmities possessed me in thy Country, for there I suckt them in, and I have groaned under them, been sorry for them, and have obtained pardon of my Prince.
Apollyon: Then Apollyon broke out into a grievous rage, saying, I am an enemy to this Prince: I hate his Person, his Laws, and People: I am come out on purpose to withstand thee.
Christian: Apollyon beware what you do, for I am in the King's Highway, the way of Holiness, therefore take heed to your self.
Apollyon: Then Apollyon straddled quite over the whole breadth of the way, and said, I am void of fear in this matter, prepare thy self to die, for I swear by my Infernal Den, that thou shalt go no further, here will I spill thy soul; and with that, he threw a flaming Dart at his breast, but Christian had a Shield in his hand, with which he caught it, and so prevented the danger of that. Then did Christian draw, for he saw 'twas time to bestir him; and Apollyon as fast made at him, throwing Darts as thick as Hail; by the which, notwithstanding all that Christian could do to avoid it, Apollyon wounded him in his head, his hand and foot; this made Christian give a little back: Apollyon therefore followed his work amain, and Christian again took courage, and resisted as manfully as he could. This sore combat lasted for above half a day, even till Christian was almost quite spent. For you must know that Christian by reason of his wounds, must needs grow weaker and weaker.
Then Apollyon espying his opportunity, began to gather up close to Christian, and wrestling with him, gave him a dreadful fall; and with that, Christian's Sword flew out of his hand. Then said Apollyon, I am sure of thee now, and with that, he had almost prest him to death, so that Christian began to despair of life. But as God would have it, while Apollyon was fetching of his last blow, thereby to make a full end of this good Man, Christian nimbly reached out his hand for his Sword, and caught it, saying, Rejoice not against me, O mine Enemy! when I fall, I shall arise; and with that, gave him a deadly thrust, which made him give back, as one that had received his mortal wound: Christian perceiving that, made at him again, saying, Nay, in all these things we are more than Conquerors, through him that loved us. And with that, Apollyon spread forth his Dragon's wings, and sped him away, that Christian saw him no more….”

John Bunyan The Pilgrim's Progress

Source: The Pilgrim's Progress (1678), Part I, Ch. IX : Apollyon

Love, Life, Death, God

“The clumsiness of people who have to engage their brain at every step is unbearably painful to watch, at least to me, and that's what the novice-friendly software makes people do, because there's no elegance in them, it's just a mass of features to be learned by rote. However, this suits people a hell of a lot better than setting out at age 6 to become a great ballet dancer and achieving their goal 20 years later after every tendon and muscle and joint has been asked to perform just a little bit more than nature ever intended over and over and over again. To most people, this is insanity. But in reality, it's art, and it's the art in what we do that makes us human.”

Erik Naggum (1965–2009) Norwegian computer programmer

read the fine manual, please http://groups.google.com/group/comp.emacs/msg/821a0f04bab91864 (Usenet article). Usenet articles, Miscellaneous

Pain, People, Age, Hell

“The schools, having found the object of their long, blind searching, shall teach directness, simplicity, naturalness: they shall protect the young against palpable illusion. They shall teach that, while man once invented a process called composition, Nature has forever brought forth organisms. They shall encourage the love of Nature that wells up in every childish heart, and shall not suppress, shall not stifle, the teeming imagination of the young.
They shall teach, as the result of their own bitter experience, that conscious mental effort, that conscious emotionality, are poor mates to breed from, and that true parturition comes of a deep, instinctive, subconscious desire. That true art, springing fresh from Nature, must have in it, to live, much of the glance of an eye, much of the sound of a voice, much of the life of a life.
That Nature is strong, generous, comprehensive, fecund, subtile: that in growth and decadence she continually sets forth the drama of man's life.
That, thro' the rotating seasons, thro' the procession of the years, thro' the march of the centuries, permeating all, sustaining all, there murmurs the still, small voice of a power that holds us in the hollow of its hand.”

Louis Sullivan (1856–1924) American architect

Emotional Architecture as Compared to Intellectual (1894)

Love, Life, School, Imagination

“I know that I am an important factor in the development of art and shall forever remain so. I say this with great emphasis, so that one can not say, at a later date: 'The poor fellow had no inkling of how important he was'. No I am no fool, nor am I timid. I know full well that the time will come for me and all other important personalities of the abstract movement, when we will influence an entire generation. However, I fear that I shall not experience this.”

Kurt Schwitters (1887–1948) German artist

1930s
Source: 'I and my purpose', in the journal 'Merz', no. 21, (1931)

Fear, Fools, Time, Personality

“German: I am the first living art museum”

Genco Gulan (1969) contemporary artist

Ich bin das erste lebende kunst museum. Arikonmaz, Piril Gulesci (2012-02-02) 'Ben bir müzeyim’ http://www.haberturk.com/yazarlar/piril-gulesci-arikonmaz/712691-ben-bir-muzeyim Haberturk (In Turkish). Retrieved 2012-06-01.

“Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie.”

Kurt Schwitters (1887–1948) German artist

Manifesto Proletkult, 1923
Schwitters, in discussion with political Dadaists as Huelsenbeck.
1920s

Life, Law, Way

“Managers today come up against a few more communication barriers. One is the pressure of time. Listening carefully takes time, and managers have little of that to spare. In today’s business culture especially, with its emphasis on speed, already pressed managers may give short shrift to the slower art of one-on-one communication.”

Fritz Roethlisberger (1898–1974) American business theorist

Carl Rogers, and Fritz Roethlisberger. "Barriers and gateways to communication." Harvard Business Review, 1952.

Communication, Business, Time, Speed

“Under the midnight sun, despair acquires the intensity of sex, insomnia the vehemence of art.”

James K. Morrow book Towing Jehovah

Source: Towing Jehovah (1994), Chapter 12, “Father” (p. 337)

Sex, Sun, Despair

“Being a DJ, I take the art of digging seriously… it has almost a karmic element of, 'I was meant to find this on top.' or, 'I was meant to pull this out becuase it works so well with this.' So it has a lot of meaning for me personally.”

DJ Shadow (1972) American trip-hop musician

From the documentary Scratch

Personality

“After viewing a few paintings and a drawing that I had brought in the day before yesterday, Mr. v. d. Kellen [Dutch art-dealer] assured me that there was absolutely no chance of placing anything of mine here, unless it was bought under pressure of a pleasant future, and I think he is right because he showed me various paintings, and specifically those that were closest to my understanding of art were the most difficult to place... I was astounded and furious about such far-reaching stupidity and the pedantry of the man [another art dealer, Herman Deichmann]. All the paintings present were beneath criticism, they were just the usual German Academic-stuff.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

The Hague, 1882
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) De heer v.d. Kellen heeft mij na het zien van eenige schilderijtjes en een tekening, die ik eergisteren mee gebracht had, de verzekering gegeven dat er niet de minste kans bestaat hier iets van mij te plaatsen, tenzij dat het gekocht wordt door pressie een prettig vooruitzicht en ik geloof dat hij gelijk heeft want hij liet mij verschillende schilderijen zien en juist degenen die naar mijn begrippen de kunst 't meest nabij kwamen waren 't moeilijkst te plaatsen.. .Ben verbaasd en woedend geweest over de verregaande stupiditeit en pedanterie van dien heer (kunsthandelaar, Herman Deichmann). Alle schilderijen daar aanwezig waren beneden kritiek, waren enfin 't gewone duitsche Academietuig. (Den Haag, 1882)
Quote from Breitner's letter to A.P. van Stolk, undated c. Sept. 1882, (location: The RKD in The Hague); as quoted by Helewise Berger in Van Gogh and Breitner in The Hague, her master-essay in Dutch - Modern Art Faculty of Philosophy University, Utrecht, Febr. 2008]], (translation from the original Dutch, Anne Porcelijn) p. 69.
Following the advice of his maecenas Mr.van Stolk, Breitner had shown his work to two Dutch art-dealers; In this quote he later gives his report and his opinion.
before 1890

Stupidity, Understanding, Thinking, Chance

“Thou art Justice — ne'er for gold
May thy righteous laws be sold
As laws are in England — thou
Shield'st alike the high and low.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

St. 57
(1819)

Justice, Law

“Alpinism is the art of climbing mountains by confronting the greatest dangers with the greatest prudence. Art is used here to mean the accomplishment of knowledge in action.”

René Daumal book Mount Analogue

Mount Analogue (1952)

Mountain, Knowledge

“It is not too much to say that when the Great War broke out our Generals had the most important lessons of their art to learn. Before they began they had much to unlearn. Their brains were cluttered with useless lumber, packed in every niche and corner.”

David Lloyd George (1863–1945) Former Prime Minister of the United Kingdom

War Memoirs (1938)
War Memoirs

War, Learning

“It is curious that money, which is the most valuable thing in life, exceptis excipiendis, should be the most fatal corrupter of music, literature, painting and all the arts. As soon as any art is pursued with a view to money, then farewell, in ninety-nine cases out of a hundred, all hope of genuine good work.”

Samuel Butler (1835–1902) novelist

Money
The Note-Books of Samuel Butler (1912), Part XI - Cash and Credit

Life, Money, Hope, Music

“As soon as a real artist finds out what art is, the more is he likely to feel the need of keeping silent about it, and about himself in connection with it. There is almost, these days, a kind of petit scandale in the thought of allying oneself with anything of a professional nature. And it is at this point that I shrink a little from asserting myself with regard to professional aspects of art. And here the quality of confession must break through.”

Marsden Hartley (1877–1943) American artist

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

Feeling, Nature

“My area of research is something that in all fairness has no practical usability whatsoever and the thing is I'm often asked to apologize for that. It is interesting to me that people ask 'what's the point of doing that if it's not useful?' But they never ask that, or do they very rarely ask that about art or literature or music. Those things are not gonna produce a better toaster.”

Lawrence M. Krauss (1954) American physicist

Interview with Richard Dawkins (5:12) http://www.youtube.com/watch?v=ZLctxRf7duU

People, Music, Literature

“It is surprising what improper and indecent contentions these popular elections occasioned. I have oftener than once known half-a-dozen candidates all trying for a vacant parish, and preaching alternately, to give their electors an opportunity of determining what they liked best. Voice and action, as is remarked in a very humorous pamphlet respecting London lectureships, almost constantly carried it. … Preachers and ministers so elected, continuing still in some degree dependent on the people, continued also chiefly to cultivate those arts by which their favour had first been gained. Their sermons were light, flippant, and ordinary; but their manner of preaching was pleasing and popular.”

Jonathan Boucher (1738–1804) English minister

"Reminiscences of an American Loyalist" (first published serially in "Notes and Queries", 1874-)

People, Light, Dependency

“It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Komar and Melamid" (1982)
Nothing If Not Critical (1991)

Nature

“They just want to get a handle on you and the idea, and that's enough. Some people sense more but they don't really get into it because it's going one step too far. But the whole idea of making art is to be open, to be generous, and absorb the viewer and absorb yourself, to let them go into it. I have to go into all those places in order to make it work.”

Frank Stella (1936) American artist

Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 29.

People, Idea, Sense

“I have had no formal training in painting: I gave up Art A level because I was sick of drawing peppers.”

Derren Brown (1971) British illusionist

Books, Portraits (2009)

Drawing, Painting, Training

“The purpose of arts education is not to produce more artists, though that is a byproduct. The real purpose of arts education is to create complete human beings capable of leading successful and productive lives in a free society.”

Dana Gioia (1950) American writer

Commencement speech, Stanford University (2007-06-17)
Speeches and lectures

Education, Success

Carl R. Rogers (1902–1987) American psychologist

Carl Rogers, and Fritz Roethlisberger. "Barriers and gateways to communication." Harvard Business Review, 1952.

Communication, Business, Time, Speed

“From the internal reality, by which I means the totality of psychological experiences, it [science] actually separates us. Art, for example, deals with many more aspects of this internal reality than does science, which confines itself deliberately and by convention to the study of one very limited class of experiences—the experiences of sense.”

Aldous Huxley (1894–1963) English writer

“One and Many,” p. 5–6
Do What You Will (1928)

Reality, Sense, Study, Science

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), p. 38

Feeling, Sense

“No matter how much experience we may gather in life, we can never in life get the dimension of experience that the imagination gives us. Only the arts and sciences can do that, and of these, only literature gives us the whole sweep and range of human imagination as it sees itself.”

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

"Quotes", The Educated Imagination (1963), Talk 4: The Keys To Dreamland

Life, Imagination, Literature, Science

“I am not suggesting that racial admixture is a solution to the world’s grave problems. I am suggesting, however, that a freedom of diverse parts in Nature to blend into variant universals should be open in fiction and art.”

Wilson Harris (1921–2018) Guyanese writer

Interview with Wilson Harris (2003)

World, Nature, Problem, Freedom

“Pop Art, Op Art, Flop Art and Slop Art... I fall into the last two categories [her remark, in the mid 1970’s].”

Joan Mitchell (1925–1992) American painter

Quote of Joan Mitchell, in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 78
1975 - 1992

“Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole — so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page.”

Willa Cather (1873–1947) American writer and novelist

On the Art of Fiction"; originally published in The Borzoi 1920 (1920)
Willa Cather on Writing (1949)

“In many ways art is similar to religion. Its development consists not in new discoveries which invalidate the old truths (as is obviously the case in science). Its development consists in sudden illuminations, similar to lightning, in explosions, which burst in the sky like fireworks.... this illumination shows with blinding light new perspectives, new truths, which are basically nothing but the organic development, the further organic growth of the earlier wisdom... Was the New Testament possible without the Old? Could our time, that of the threshold of the 'third' revelation, be thinkable without the second?”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 33

Wisdom, Truth, Religion, Way

“Leadership is the art of accomplishing more than the science of management says is possible.”

Colin Powell (1937) Former U.S. Secretary of State and retired four-star general

2000s, The Powell Principles (2003)

Science, Leadership

“The reward of art is not fame or success but intoxication: that is why so many bad artists are unable to give it up.”

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

Cyril Connolly in The Unquiet Grave (1944; 1951), Part 2
Misattributed

Success

“Young Knight learn to love God and revere women so that your honour grows. Practice knighthood and learn the Art that dignifies you, and brings you honour in wars. Wrestle well and wield lance, spear, sword, and dagger manfully, whose use in others' hands is wasted. Strike bravely and hard there! Rush to strike or miss. Those with wisdom loath the one forced to defend. This you should grasp: All arts have length and measure. Whatever you undertake, use deliberation. In earnest or in play, be of good cheer and vitality, so you may be attentive and with good courage ponder what action you should take, so that none may touch you, since good courage and strength make your enemies hesitate. Keep in mind to give no-one any advantage. Avoid foolhardiness, do not attempt to match four or six opponents at once. Restrain your ambition, this will benefit you. He is a courageous man who can stand against his equal, while it is no shame to flee from four or six.”

Johannes Lichtenauer (1300–1389) Founder and grand master of the German School of Swordsmanship

MS 3227a

Love, Wisdom, Women, God

“I like working on sponge because it's a simple, light material and always ready to use. The colour and texture meet my aesthetic requirements and it has a lolof volume and physically, is very present in the space. The ink or paint is immediately absorbed into the foam surface, making any corrections almost impossible. It is a material which lends itself to quick, fast application and is particularly good for spontaneous sketching with paint squeezed directly from the tube. The fact that these works will not last (sponge is not a very durable material) does not deter me; it suits the character of the work very well and to an extent reflects my ideas about art.”

Tomasz Vetulani (1965) Polish artist

At the time of writing exhibition catalogue, the Center for Contemporary Art Ujazdowski Castle in Warsaw, 1998.

Idea, Light, Painting

“The subconscious plays a great part in art, that is to say that in conceiving & realizing a work a great deal happens which cannot be logically explained – the mind jumps from one stage to another much further on without there being traceable steps shown between – sudden solutions which cannot be followed step by step – in a word – inspiration.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, Unpublished notes' for 'The Sculptor Speaks' (1937), p. 113

Parting

“Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor.”

Ernest Hemingway book Death in the Afternoon

Source: Death in the Afternoon (1932), Ch. 9

Death

“All things are artificial, for nature is the Art of God.”

Thomas Browne book Religio Medici

Section 16
Religio Medici (1643), Part I

God, Nature

“The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.”

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

Source: Art on the Edge, (1975), p. 249, "Thoughts in Off-Season"

History, Effort, Change, Future

“I have just concluded my series of paintings, I look at them constantly. I who made them often find them horrible. I understand them only at rare moments, when I have forgotten all about them, on days when I feel kindly disposed and indulgent to their poor maker. Sometimes I am horribly afraid to turn round canvases which I have piled against the wall; I am constantly afraid of finding monsters where I believed there were precious gems!… Thus it does not astonish me that the critics in London relegate me to the lowest rank. Alas! I fear that they are only too justified! - However, at times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace. But no more of that. Painting, art in general, enchants me. It is my life. What else matters?”

Camille Pissarro (1830–1903) French painter

Quote in a letter, 20 Nov. 1883; as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, p. 84
1880's

Life, Fear, Feeling, Understanding

“This is a history, in that it intends to describe what happened and suggest why. … I may have fooled around with a few facts. But I served as witness until as close to the end as anyone could have … and so there is not so much art in this as to make it irrelevant.”

Neal Stephenson book The Big U

Early schema for author's now-familiar approach to historic events and persons; "The Go Big Red Fan" (prologue)
The Big U (1984)

Fools, History

“New York has been, and will continue to be, a magnet for people from all over the world. This is where the arts, business, research and technology converge to create the world's foremost urban economy.”

Michael Bloomberg (1942) American businessman and politician, former mayor of New York City

http://www.mikebloomberg.com/en/issues/job_creation/mayor_michael_bloombergs_inaugural_speech
New York City

People, World, Business

“A writer is a person who cares what words mean, what they say, how they say it. Writers know words are their way towards truth and freedom, and so they use them with care, with thought, with fear, with delight. By using words well they strengthen their souls. Story-tellers and poets spend their lives learning that skill and art of using words well. And their words make the souls of their readers stronger, brighter, deeper.”

Ursula K. Le Guin (1929–2018) American writer

"A Few Words to a Young Writer" http://www.ursulakleguin.com/WordsYoungWriter.html (2008)

Truth, Fear, Way, Soul

“Life is art. Art is life. I never separate it. I don’t feel that much anger. I equally have a lot of joy.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei: ‘Shame on Me.’, 2011

Life, Feeling, Joy, Anger

“At the present time administration is more an art than a science; in fact there are those who assert dogmatically that it can never be anything else. They draw no hope from the fact that metallurgy, for example, was completely an art several centuries before it became primarily a science and commenced its great forward strides after generations of intermittent advance and decline.”

Lyndall Urwick (1891–1983) British management consultant

Source: 1930s, "Science, Value and Public Administration", 1937, p. 189

Hope, Science, Time, Drawing

“Every creature, every work of God, is admirably well made; but if any one appears imperfect in our eyes, it does not belong to us to criticise it. Perhaps that which we do not find right in its kind, turns to our advantage, without our being able to perceive it. Let us look at the state of the heavens, one while the sun shines, another time it does not appear; now the weather is fine; again it is unpleasant; one day is hot, another is cold; another time it is rainy, snowy or cloudy; every thing is variable and inconstant. Let us look at the surface of the earth: here the ground is flat; there it is hilly and mountainous; in other places it is sandy; in others it is barren; and elsewhere it is productive. Let us, in thought, go into an orchard or forest. What do we see? Trees high or low, large or small, upright or crooked, fruitful or unfruitful. Let us look at the birds of the air, and at the fishes of the sea, nothing resembles another thing. Let us look at the beasts. We see among the same kinds some of different forms, of different dimensions, domestic or wild, harmless or ferocious, useful or useless, pleasing or hideous. Some are bred for men's sakes; some for their own pleasures and amusements; some are of no use to us. There are faults in their organization as well as in that of men. Those who are acquainted with the veterinary art, know this well; but as for us who have not made a study of this science, we seem not to discover or remark these faults. Let us now come to ourselves. Our intellectual faculties as well as our corporeal organization have their imperfections. There are faculties both of the mind and heart, which education improve; there are others which it does not correct. I class in this number, idiotism, imbecility, dulness. But nothing can correct the infirmities of the bodily organization, such as deafness, blindness, lameness, palsy, crookedness, ugliness. The sight of a beautiful person does not make another so likewise, a blind person does not render another blind. Why then should a deaf person make others so also? Why are we Deaf and Dumb? Is it from the difference of our ears? But our ears are like yours; is it that there may be some infirmity? But they are as well organized as yours. Why then are we Deaf and Dumb? I do not know, as you do not know why there are infirmities in your bodies, nor why there are among the human kind, white, black, red and yellow men. The Deaf and Dumb are everywhere, in Asia, in Africa, as well as in Europe and America. They existed before you spoke of them and before you saw them.”

Laurent Clerc (1785–1869) French-American deaf educator

Statement of 1818, quoted in Through Deaf Eyes: A Photographic History of an American Community (2007) by Douglas C. Baynton, Jack R. Gannon, and Jean Lindquist Bergey

Men, God, Pleasure, Education

“The idea of objectivity in the evaluation of pictures introduces the concept of rational and scientific assessment. There are some sciences involved in the making and in the study of pictures, but the art itself is finally not a science and will not submit to scientific regimentation because its life depends on the degree to which it is inhabited by mystery, speaks to us of the unknown. It is simply an avoidance of the interesting difficulty to subject the inexplicable to the process of rational explanation. For since the real pleasures of painting and the reality of its meaning exist in the part of its structure which cannot be explained, all suggestions and pretensions at explanation must lead us away from the area of greatest interest. This is to say that such analysis as purports to lay bare the machinery which makes a painting work — makes it a good painting — not only leaves out the most important factor, the element of mystery, but actively denies the reality which is the justification for the art at all.”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)

Life, Pleasure, Idea, Reality

“Alas, because I'm no longer innocent. We're civilized beings. Whether we like it or not, we have the cares and concerns of classical civilization in our bones. I want to express myself clearly when I paint. In people who feign ignorance there is a kind of barbarism even more detestable than the academic kind: it's no longer possible to be ignorant today. One no longer is. We come into the world armed with facility. Facility is the death of art and we must rid ourselves of it.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 155, in: 'What he told me – I. The motif': Cited in: George Pattison. God and Being: An Enquiry, (2011). p. 64

Death, People, World, Painting

“The image of Shiva as Nataraj is indelibly stitched into the Indian imagination. How many various dances of Shiva are known to His worshippers. I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of.”

Ananda K. Coomaraswamy (1877–1947) Ceylon-American art historian

By Ananda Coomaraswamy in Nataraja, 11 January 2014, SSCNET, UCLA http://www.sscnet.ucla.edu/southasia/Religions/Avatars/Natar.html,

God, Religion, Imagination, Idea

“Actually, the father of mixed martial arts, if you will, was Bruce Lee. If you look at the way Bruce Lee trained, the way he fought, and many of the things he wrote, he said the perfect style was no style. You take a little something from everything. You take the good things from every different discipline, use what works, and you throw the rest away.”

Dana White (1969) President of the UFC

Dana White and the future of UFC (2004)

Way, Perfection, Training

“We want Realism's wealth of experience and Symbolism's depth of feeling. All art is a problem of balance between two opposites.”

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

This Business of Living (1935-1950)

Feeling, Problem, Wealth

“Mannerism came so late into the foreground of research on the history of art, that the depreciatory verdict implied in its very name is often still taken to be adequate, and the unprejudiced conception of this style as a purely historical category has be.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 5. The Concept of Mannerism

History

“It is instinctive to search for something. Abstract art is inherently about the search - and about not finding anything. My gray monochromes have the same illusionistic implications as my landscapes. I want them to be seen as narratives - even if they are narratives of nothingness. Nothing is something. You might say they are like photographs of nothing.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“!-- Most of the effects described in classical magical tradition I believe I can duplicate with art, possibly drugs – or some other means of integrating myself more deeply with that sort of reality, that sort of consciousness – I believe I could do most of the things that are described in traditional magic. This opens up wider possibilities. It also enables me to understand myself on a deeper level. -->By accepting the idea of endless pantheons of gods, I somehow accept these creatures as being distinct and separate from me, and not as being, to some degree, higher functions of me. Iain Sinclair was asking me about this: he asked me ‘do you think they are inside you, or outside you?’ The only answer I could come up with was, the more I think about it the inside is the outside. That the objective world and the non-objective world are the same thing, to some degree. Ideaspace and this space are the same space. Just different ends of the scale. That’s not a very good explanation, but the best I can come up with so far.”

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

De Abaitua interview (1998)

God, World, Idea, Understanding

“After all there is the two edged sword that will never fail you, with enthusiasm for one of its edges and irony for the other. However mired and weedy be the current of life there will be always joy and loyalty enough left to keep you unwavering in the faith that politics is not as it seems in clouded moments, a mere gabble and squabble of selfish interests, but that it is the State in action. And the State is the name by which we call the great human conspiracy against hunger and cold, against loneliness and ignorance; the State is the foster-mother and warden of the arts, of love, of comradeship, of all that redeems from despair that strange adventure which we call human life.”

Thomas Kettle (1880–1916) Irish politician

The Day's Burden: Studies Literary & Political, and Miscellaneous Essays (1910).

Love, Life, Hunger, Faith

“Our Father, which art in heaven, hallowed be thy name.”

William Tyndale (1494–1536) Bible translator and agitator from England

Matthew 6:9
Tyndale's translations

“Riches and Art are spurious receipts for the production of Happiness and Beauty.”

George Bernard Shaw (1856–1950) Irish playwright

#104
1900s, Maxims for Revolutionists (1903)

Happiness, Beauty

“I am a -living shadow and Thou the Truth… Therefore, my God, Thou art alike shadow and Truth; Thou art alike the image and the Exemplar of myself and all men.”

Nicholas of Cusa book De Docta Ignorantia

De Docta Ignorantia (On Learned Ignorance) (1440)

Men, God, Truth

“I believe the art of the future including poetry will be simple, fresh and strongly coloured and will be understood and loved by the ignorant as well as the most cultivated. A popular art in the finest sense of the word.”

Max Michelson (1880–1953) American poet

Love, Sense, Future

“The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts.”

Lucy R. Lippard (1937) American art curator

John Chandler and Lucy R. Lippard, " The Dematerialization of Art http://www.c-cyte.com/OccuLibrary/Texts-Online/Lippard-Chandler_The_Dematerialization_of_Art.pdf," in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, Mass.: MIT Press, 1999).

World, Despair

“Art and religion (they are the same thing, in the end, of course) have given man the only happiness he has ever had.”

Willa Cather book The Professor's House

Book I, Ch. 5
The Professor's House (1925)

Happiness, Religion

“Languages, literature, art, music, history: are all self-evident helps - and even mathematics and sciences, by training memory and demanding the analytical approach, are helpful by indirection.”

Irene Dunne (1898–1990) American actress

If You Want Success (Screenland Interview) (1961)

Music, History, Literature, Mathematics

“In spite of all the refinements of civilization that conspired to make art – the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard's canvases – beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.”

Anne Rice book The Vampire Lestat

The Vampire Lestat (1985)

Beauty, Perfection

“The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.... the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's

Law, Color, Nature, Painting

“Art is the final cunning of the human soul which would rather do anything than face the gods.”

Iris Murdoch (1919–1999) British writer and philosopher

"Art and Eros: A Dialogue about Art", Acastos: Two Platonic Dialogues (1986).

God, Soul

“Customs and convictions change; respectable people are the last to know, or to admit, the change, and the ones most offended by fresh reflections of the facts in the mirror of art.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

The New Yorker (30 July 1990)

People, Change

“The duty of the artist is not to be calculating in any sense, so that he may be free himself of human emotions while carried by the universal forces of life. Only then does one not think about making art, or about styles, or directions. Something comes about, something happens.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Karel Appel – the complete sculptures,' (1990) not-paged

Life, Thinking, Sense, Universe

“Flowers, the sole luxury which nature knew,
In Eden's pure and guiltless garden grew—
Gay without toil, and lovely without art,
They spring to cheer the sense, and glad the heart.”

Anna Laetitia Barbauld (1743–1825) English author

Poems (1773), "To a Lady, with some painted Flowers", p. 96.

Love, Spring, Flowers, Nature

“It is the first step in sociological wisdom, to recognize that the major advances in civilization are processes which all but wreck the societies in which they occur:—like unto an arrow in the hand of a child. The art of free society consists first in the maintenance of the symbolic code; and secondly in fearlessness of revision, to secure that the code serves those purposes which satisfy an enlightened reason. Those societies which cannot combine reverence to their symbols with freedom of revision, must ultimately decay either from anarchy, or from the slow atrophy of a life stifled by useless shadows.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

Symbolism: Its Meaning and Effect (1927), chapter 3, p. 88; final paragraph of the book.
1920s

Life, Wisdom, Freedom

“I depict my life and experiences in my works of art.”

Otto Mueller (1874–1930) German painter and printmaker of the expressionist movement

quoted by his sister Emmy Muellers in her 'Recollections'; as cited in Otto Mueller: A Stand-Alone Modernist, Dieter W. Posselt; 2006 / new edition 2010, Books on Demand, GmbH, Norderstedt, Germany - ISBN:978-3-8448-6866-1

Life

“You know the Art Rule: Do something that entertains/interests YOU, if you're lucky it'll do (the) same for others”

Keith Olbermann (1959) American sports and political commentator

[From Twitter]

Quotes about art page 33

Quotes about art
page 33