Quotes about art (5831 quotes, page 36)

“If you want to help me, and I know you do, believe in me. And do not help to criticize or break me, as some people do gladly, who are indifferent or hostile [towards me].... You must have faith in me. Believe me. And if you want to believe someone about me, believe an artist, someone like Mesdag or Blommers or Maris [one of Breitner's teachers, c. 1880], but not Kuyper and the likes of him.... and hear what they say and put more value on the talk 'finish better' and 'he is stubborn”

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

from people who, let's be honest, actually know nothing about art. (The Hague, 1881)
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Indien U mij wilt helpen en dat weet ik, geloof dan in mij. en helpt niet mee om mij af te breken, dat lieden die of onverschillig zijn of vijandig zoo gaarne doen... ...Gij moet vertrouwen in mij hebben. mij geloven. En als Ge iemand gelooven wilt over mij. geloof dan een schilder iemand als Mesdag of Blommers of Maris, maar geen de Kuyper en consorten... ...en hoor wat ze zeggen en hecht dan nog eenige waarde aan de praatjes van: 'meer af' en: 'hij is koppig' - van lui die goed beschouwd er toch eigentlijk niets van weten. (Den Haag, 1881)
Quote from Breitner's letter to A.P. van Stolk nr. 24, 11 October 1881, (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, February 2008]], (translation from the original Dutch, Anne Porcelijn) p. 36.
this quote dates from Breitner's period in The Hague, after his Maecenas A.P. van Stolk withdrew his financial support. In his defense, Breitner cites a number of painters from the Hague School he is in contact with and who have already built up a certain reputation.
before 1890

Hostility , People , Faith , Teachers

“The present painter is concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world mystery. His imagination is therefore attempting to dig into metaphysical secrets. To that extend his art is concerned with the sublime. It is a religious art which through symbols will catch the basic truth of life which is its sense of tragedy.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 124

Life , Truth , Secret , World

“I believe natural beauty stimulates the creative mind and it’s no wonder the residents have always had an affinity to the arts. Growing up I was surrounded by music, dance, theater, literature and given my father owned and operated the only two cinema halls in town, I was a very popular kid on Saturdays when traditionally the two would flock to see the latest “flick” that was playing at either the Capitol Cinema or The Rink”

Erick Avari (1952) Indian actor

formerly a roller skating rink

Beauty , Music , Literature , Nature

“We are now committed to an unqualified art, not illustrating outworn myths or contemporary alibis. One must accept total responsibility for what he executes. And the measure of his greatness will be in the depth of his insight and his courage in realizing his own vision.”

Clyfford Still (1904–1980) American artist

Letter to Dorothy Miller February 5, 1952; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 193
1950s

Courage

“You have no right to interfere with my art. Your wife is not your property. I need her, in order to finish my picture, I must have her! I will sue you! [the woman returned by persuasion of the Castaings who supported Soutine].”

Chaim Soutine (1893–1943) painter

Source: Life with the painters of La Ruche, Vorobëv Marevna, Macmillan, New York, 1972, p. 156.
reacting to the husband of his model a railway gate-keeper; his wife had to pose a second session for Soutine's painting 'The siesta', in 1934

Support

“It’s very important to be able to accept things, you know. Gracious acceptance is an art – an art which most of never bother to cultivate. We think that we have to learn how to give, but we forget about accepting things, which can be much harder than giving.”

Alexander McCall Smith (1948) British writer

Love Over Scotland, chapter 112.
The 44 Scotland Street series

Thinking , Learning , Forgetting

“The neoclassical theory of wage determination, which I taught for 30 years and have tried to explain in my textbook … has nothing to say about fairness…. Beginning in the mid-1970s, I began to find myself in a series of roles in which I have participated in setting or controlling wages and salaries. These included sitting on three wage stabilization bodies during the Nixon and Ford administrations, as a director of two corporations, as a provost of a private university, as a president of a foundation, and as a trustee of a liberal arts college. In one of the corporations I serve as chairman of the compensation committee.
In none of these roles did I find the theory that I taught so long to be the slightest help. The factors involved in setting wages and salaries in the real world seemed to be very different from those specified in the neoclassical theory. The one factor that seemed to be of overwhelming importance in all these situations was fairness.”

Albert Rees (1921–1992) American economist

“The Role of Fairness in Wage Determination.” Journal of Labor Economics (1993)

World , Universe , Help

“Each of us [the Der Blaue Reiter (Blue Rider) artists] was interested in the work of the other members of our group, much as each of us was also interested in the health and happiness of the others. But we were still far from considering ourselves as a group or a school of art... I don't think we were ever as programmatic in out theories, as competitive or a self-assertive, as some of the modern [art] schools of Paris.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

Health , School , Thinking , Happiness

“Kicked in the ribs, the press says "art" when "ouch" would be more appropriate.”

Pauline Kael book Going Steady

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

“The art of dining well is no slight art, the pleasure not a slight pleasure.”

Michel De Montaigne (1533–1592) (1533-1592) French-Occitan author, humanistic philosopher, statesman

Attributed

Pleasure

“Economics is not politics. One is a science, concerned with the immutable and constant laws of nature that determine the production and distribution of wealth; the other is the art of ruling.”

Frank Chodorov (1887–1966) American libertarian thinker

Source: The Rise & Fall of Society (1959), p. 77

Law , Nature , Science , Wealth

“Art thy not content that thou hast done something conformable to thy nature, and dost thou seek to be paid for it? Just as if the eye demanded recompense for seeing, or the feet for walking. For as these members are formed for a particular purpose… so also is man formed by nature to acts of benevolence.”

Marcus Aurelius book Meditations

IX, 42
Meditations (c. 121–180 AD), Book IX

Nature

“Wenzel and Richter, the latter… of most pronounced mathematical temperament, laid the foundations of stoichiometry, or "the art of measuring the chemical elements."”

J. R. Partington (1886–1965) British chemist

Introduction
Higher Mathematics for Chemical Students (1911)

Mathematics

“Fanatic secularism is as dangerous to the world as fanatic religion. Love is the heart of all religions; the theme of all classical works of art and literature; the song of all devotees. Scientists know only what love does, not what love is. Love is to human hearts what the sun is to flowers.”

Chinmayananda Saraswati (1916–1993) Indian spiritual teacher

Quotations from Gurudev’s teachings, Chinmya Mission Chicago

Love , World , Religion , Flowers

“It seems that those, who have hitherto treated of this Subject, have been more conversant in the Practice of Designing, than in the Principles of Geometry… that might have enabled them to render the Principles of it more universal, and more convenient for Practice. In this Book I have endeavour'd to do this; and have done my utmost to render the Principles of the Art as general, and as universal as may be, and to devise such Constructions, as might be the most simple and useful in Practice.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

Books , Universe

““My destiny is accomplished and I die content.” How often she made such quotations as these, said or felt or was them! For just as many Americans want art to be Life, so this American novelist wanted life to be Art, not seeing that many of the values—though not, perhaps, the final ones—of life and art are irreconcilable; so that her life looked coldly into the mirror that it held up to itself, and saw that it was full of quotations, of data and analysis and epigrams, of naked and shameful truths, of facts: it saw that it was a novel by Gertrude Johnson.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 5: “Gertrude and Sidney”, p. 214

Life , Truth

“The reason why the music is important is that it's an art form— an ancient art form— that takes in the mythology of our people.”

Wynton Marsalis (1961) American jazz musician

Attributed

People , Music

“Friendship is unnecessary, like philosophy, like art, like the universe itself (for God did not need to create). It has no survival value; rather it is one of those things which give value to survival.”

Clive Staples Lewis book The Four Loves

The Four Loves (1960)

Friendship , For Friend , For Bestfriend , God

“Thou art indeed just, Lord, if I contend
With thee; but, sir, so what I plead is just.
Why do sinners’ ways prosper? and why must
Disappointment all I endeavour end?”

Gerard Manley Hopkins (1844–1889) English poet

" Thou art indeed just, Lord, if I contend http://www.bartleby.com/122/50.html", lines 1-4
Wessex Poems and Other Verses (1918)

Disappointment , Way

“That's how it is
One day two paintings were hanging,
Right opposite each other
Really colorful and beautiful the one
And the other simple and honest
* That simplicity and truth are the characteristics
of science and of art.
Well, people can not understand that.
It was to the tinsel that they gave their favor.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (kort gedicht van Jozef Israëls, in het Nederlands):
Zoo is het
Er hingen eens twee schilderijen,
Juist vlak tegenover elkaar
Regt kleurig en schitterend de eene
En d'ander eenvoudig en waar
** Dat eenvoud en waarheid het kenmerk
Van wetenschap is en van kunst
Och, dat kan het volk niet begrijpen
En [aan] 't klatergoud schonk het zijn gunst.
A short poem of Israëls, written in his letter from The Hague, 13 Dec. 1876 to art-seller Pilgeram & Lefèvre in London; from collection of Fondation Custodia, Institut Neérlandais Paris, input no. 1971-A 506
Quotes of Jozef Israels, 1871 - 1900

People , Truth , Beauty , Color

“I never had difficulties with my students, for I was prepared for their pranks, because fortunately I had often been naughty myself. We frequently made tremendous fun at the Art Academy in The Hague... So I still had my own experience in this area fresh in my mind.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Moeilijkheden met mijn leerlingen [o.a. op de Rotterdamse H.B.S. - waar ze met lesgeven begon - van 1876 tot 1882] heb ik nooit gehad, want ik was voorbereid op hun streken, omdat ik gelukkig zelf dikwijls ondeugend was geweest. Wat hadden we op de Haagsche Academie vaak 'n ontzettende pret gemaakt!. .Dus had ik mijn eigen ervaring op dit gebied nog frisch in 't geheugen.
Suze was teaching first in Rotterdam at the Dutch High School, from 1876 to 1882, and afterwards one year in Amsterdam, 1883; then she stopped teaching
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 30

“If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless... In Paris, it seemed to me that I was discovering everything, above all a mastery of technique... It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me... I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface.”

Marc Chagall (1887–1985) French artist and painter

reaction on his first arrival in Paris, 1910
Quote of Chagall in: Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)
1910's

God , People , Unfaithfulness , Confidence

“Death will come when thou art dead,
Soon, too soon —
Sleep will come when thou art fled;
Of neither would I ask the boon
I ask of thee, beloved Night —
Swift be thine approaching flight,
Come soon, soon!”

Percy Bysshe Shelley To Night

To Night (1821), st. 5

Death , Sleep , Night , Dead

“Art belongs to the domain of the unreal and it is only when people try to make a reality of it that it falls apart.”

Jean Metzinger (1883–1956) French painter

Cubism was born

People , Reality

“My object in supporting this Motion is, that I may bring to bear upon the legislation of this House those virtues and that talent which have characterised the middle and industrious classes of this country. If you talk of your aristocracy and your traditions, and compel me to talk of the middle and industrious classes, I say it is to them that the glory of this country is owing. You have had your government of aristocracy and tradition; and the worst thing in this country has been its government for the last century and a half. All that has been done to elevate the country has been the work of the middle and industrious classes. Whether in literature, in arts, in science, in commerce, or in enterprise—all has been done by the middle and industrious classes; and it is because I wish to bring their virtue, intelligence, industry, and frugality, to bear upon the proceedings of this House, that I support the Motion of the hon. Member for Montrose.”

Richard Cobden (1804–1865) English manufacturer and Radical and Liberal statesman

Speech http://hansard.millbanksystems.com/commons/1848/jul/06/national-representation-adjourned-debate in the House of Commons (6 July 1848) in favour of a Reform Bill that would have extended the vote to middle class men.
1840s

Intelligence , Literature , Support , Science

“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?”

Jeremy Taylor (1613–1667) English clergyman

Sermon XX, Part II

World , Thinking , Chance

“Only utopian liberals could be surprised that the Nazis were art connoisseurs.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 29

“I think it's called Arte Povera. But it doesn't mean 'poor art'. It means the art which you would do out there if you were nobody at all. Aspects of this are street art and so forth. Earthworks interest me to the single extent that it means a great extension of the possibilities of materials. Dirt is a wonderful material to make things out of. And mud and rocks and things like this…”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 26

Thinking

“As for what l'm making now, perhaps it's art; but if it isn't, at least it's something else equally interesting to me!”

George Rickey (1907–2002) American artist

Source: Selden Rodman (1957) Conversations with Artists, New York, p. 148

“…good American poets are surprisingly individual and independent; they have little of the member-of-the-Academy, official man-of-letters feel that English or continental poets often have. When American poets join literary political parties, doctrinaire groups with immutable principles, whose poems themselves are manifestoes, the poets are ruined by it. We see this in the beatniks, with their official theory that you write a poem by putting down anything that happens to come into your head; this iron spontaneity of theirs makes it impossible for even a talented beatnik to write a good poem except by accident, since it eliminates the selection, exclusion, and concentration that are an essential part of writing a poem. Besides, their poems are as direct as true works of art are indirect: ironically, these conscious social manifestoes of theirs, these bohemian public speeches, make it impossible for the artist’s unconscious to operate as it normally does in the process of producing a work of art.”

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

“Fifty Years of American Poetry”, pp. 327–328
The Third Book of Criticism (1969)

Feeling , Parting

“Obviously everyone is going to prefer kinds of art. I prefer art that isn't associated with anything and am tired of the various kinds of dada, and don't think, for example, that the work of Johns and Rauschenberg is so momentous. But it's good and I'm not at all inclined to rank them below every last abstract artist. And I know that their work has connections to so-called abstract work. (I don't like the word 'abstract'.) Or, I think American art is far better than that anywhere else but I don't think that situation is desirable. ** Donald Judd, in: Studio International, vol. 177, p. 182: As quoted in: James Meyer (2000) Minimalism. Vol 60 - 83, p. 245”

Donald Judd (1928–1994) artist

1960s

Quotes , Thinking

“Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.”

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

Source: Art & Other Serious Matters, (1985), p. 273, "Being Outside"

Memory , Future , Personality

“Very little comes easily to our poor, benighted species (the first creature, after all, to experiment with the novel evolutionary inventions of self-conscious philosophy and art). Even the most “obvious,” “accurate,” and “natural” style of thinking or drawing must be regulated by history and won by struggle. Solutions must therefore arise within a social context and record the complex interactions of mind and environment that define the possibility of human improvement.”

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

"Seeing Eye to Eye, Through a Glass Clearly", p. 72
Leonardo's Mountain of Clams and the Diet of Worms (1998)

History , Nature , Thinking , Drawing

“To begin again at the beginning in a proper philosophical manner, one person is a unity, and somehow, after the long complex process, a work of art is a similar unity. But the person is fairly unintelligible and the art is intelligible. Primarily what is intelligible is the nature of the artist, either of the past or now. The interests, thought and quality of the artist make the final total quality of the work.”

Donald Judd (1928–1994) artist

Donald Judd (1983) in: Donald Judd (1987) Complete writings, 1975-1986. p. 28 ; Quoted in: " Archives http://www.juddfoundation.org/archives" at juddfoundation.org, 2014
1980

Intelligence , Nature , Past , Personality

“Painting in the chamber of a Prince who was indisposed, the Physician said, that he hoped bymeans of his Highness, to obtain also the favor of a picture by Salvator. The Prince made he request, and Salvator readily consented. The Physician then desired the Painter not to egin his picture till he had given him the idea, nd the design. Salvator made no reply; ut when the Physician called for pen and ink o write his prescription, he desired him to stop ill he should tell him what to write. The Docor, not comprehending his meaning, said * Signor Salvator, this is a business which conerns me, not you." "I would have you to know Mr. Doctor" replied Salvator, " that I can more easily instruct you in the cure of your tickt than you can me in the art I profess, being a much better Painter than you are a Physician.'*”

Peter Beckford (1643–1710) Governor of Jamaica

Hope , Idea , Business , Painting

“For to me, this word Art, in its largest sense, signifies those who take pleasure in their work… Artist-carpenters who adjust with joy dovetails and mortises; artist-masons who handle lovingly their trowels; artist-cab drivers, proud of treating their horses humanely-what an ideal state of society that would be.”

Auguste Rodin (1840–1917) French sculptor

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

Pleasure , Sense , Horse , Joy

“When a twelfth-century youth fell in love he did not take three paces backward, gaze into her eyes, and tell her she was too beautiful to live. He said he would step outside and see about it. And if, when he got out, he met a man and broke his head—the other man's head, I mean—then that proved that his—the first fellow's—girl was a pretty girl. But if the other fellow broke his head—not his own, you know, but the other fellow's—the other fellow to the second fellow, that is, because of course the other fellow would only be the other fellow to him, not the first fellow who—well, if he broke his head, then his girl—not the other fellow's, but the fellow who was the—Look here, if A broke B's head, then A's girl was a pretty girl; but if B broke A's head, then A's girl wasn't a pretty girl, but B's girl was. That was their method of conducting art criticism.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Love , Youth , Beauty , Girl

“Listen! There was never an artistic period. There was never an art-loving nation.”

James McNeill Whistler (1834–1903) American-born, British-based artist

1870 - 1903, his lecture 'Ten O'Clock' (1885)

Love

“How free from every thing like art were the reasonings and language of Christ.”

David Thomas (born 1813) (1813–1894) 19th-century Welsh preacher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 63.

Christ

“To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will enter the regions of childhood vision and dream.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 231
1908 - 1920, On Mystery and Creation, Paris 1913

Dreams , Sense , Childhood

“"To Guru Mani Madhava Chakyar, Kutiyattam was more than art, it was life itself"
- Mani Madhava Chakkyar: The Master at Work (film) - Kavalam N. Panickar, 1994”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya
Source: Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994

Life

“In the UK, while the arts are the second biggest sector after banking, they probably form less than one tenth of 1% of government spending. It's completely scuzzy.”

Anish Kapoor (1954) British contemporary artist of Indian birth

“A religious phenomenon will only be recognized as such if it is grasped at its own level, that is to say, if it is studied as something religious. To try to grasp the essence of such phenomenon by means of physiology, psychology, sociology, economics, linguistics, art or any other study is false; it misses the one unique and irreducible element in it — the element of the sacred.”

Mircea Eliade (1907–1986) Romanian historian of religion, fiction writer and philosopher

Patterns in Comparative Religion (1963), as translated by Rosemary Sheed, p. xiii

Study , Falseness

“The writer feels that management is also destined to become more of an art, and that many of the, elements which are now believed to be outside the field of exact knowledge will soon be standardized tabulated, accepted, and used, as are now many of the elements of engineering.”

Frederick Winslow Taylor (1856–1915) American mechanical engineer and tennis player

Source: Shop Management, 1903, p. 1373.

Feeling , Knowledge

“By the sixth century A. D., …a distinctively Chinese Buddhist art had arisen, in which figures with Chinese dress and Chinese faces nonetheless continued to conform to Indian conventions of gesture and ornament.”

William H. McNeill book The Rise of the West: A History of the Human Community

The Rise of the West: A History of the Human Community (1963)

José Ortega Y Gasset (1883–1955) Spanish liberal philosopher and essayist

"The Dehumanization of Art"
The Dehumanization of Art and Ideas about the Novel (1925)

Fate , Personality , Forgetting

“A Person any Thing vers’d in the Writings of Chymists cannot but Discern by their obscure, Ambiguous, and almost Ænigmatical Way of expressing what they pretend to Teach, that they have no Mind, to be understood at all, but by the Sons of Art (as they call them) nor to be Understood even by these without Difficulty And Hazardous Tryalls.”

Robert Boyle book The Sceptical Chymist

Preface Introductory to the Following Treatise
The Sceptical Chymist (1661)

Way , Personality

“Strong be thy wallis that about the standis;
Wise be the people that within the dwellis;
Fresh is thy ryver with his lusty strandis;
Blith be thy chirches, wele sownyng be thy bellis;
Riche be thy merchauntis in substance that excellis
Fair be thy wives, right lovesom, white and small;
Clere be thy virgyns, lusty under kellis:
London, thou art the flour of Cities all.”

William Dunbar (1460–1520) Poet and civil servant

"London, thou art of townes A per se", line 41.
John Stow's ascription of this poem to Dunbar, though unchallenged for centuries, is no longer accepted.
Misattributed

People , Strong

“The art of using moderate abilities to advantage wins praise, and often acquires more reputation than actual brilliancy.”

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

Maxim 162.
Reflections; or Sentences and Moral Maxims (1665–1678)

“I've had different opportunities in my life, but I've tried to maintain the spirit of an amateur. Our culture roots everything in the barometer of success and how much money you make. But if you really just aspire to a life in the arts, it's really not a barometer at all.”

Ethan Hawke (1970) American actor and writer

New York Daily News http://www.nydailynews.com/archives/entertainment/2000/05/11/2000-05-11_a_renaissance_man_tackles_sh.html (2000-05-11)
2000–2004

Life , Money , Success

“My song shall spread where ever there are men,
If wit and art will so much guide my pen.”

Luís de Camões (1524–1580) Portuguese poet

Cantando espalharei por toda parte,
Se a tanto me ajudar o engenho e arte.

Stanza 2, lines 7–8 (tr. Richard Fanshawe, 1655)
Epic poetry, Os Lusíadas (1572), Canto I

Men

“Art, that does all things, never herself displays.”

Torquato Tasso (1544–1595) Italian poet

L'arte, che tutto fa, nulla si scopre.
Canto XVI, stanza 9 (tr. T. B. Harbottle). Cf. Ovid, Ars Amatoria, 2.313.
Gerusalemme Liberata (1581)

“The creator of the new composition in the arts is an outlaw until he is a classic.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Composition as Explanation (1926)

“We all have to go one day, but pray God let it not be over Afghanistan. An unspeakable country filled with unspeakable people, sheepshaggers and smugglers, who have furnished in their leisure hours some of the worst arts and crafts ever to penetrate the occidental world. I yield to none in my sympathy to those prostrate beneath the Russian jackboot, but if ever a country deserved rape it’s Afghanistan. Nothing but mountains filled with barbarous ethnics with views as medieval as their muskets, and unspeakably cruel too.”

Alexander Cockburn (1941–2012) Leftist journalist and writer

"Press Clips", The Village Voice (21 January 1980).

God , People , World , Mountain

“Take the sum of human achievement in action, in science, in art, in literature—subtract the work of the men above forty, and while we should miss great treasures, even priceless treasures, we would practically be where we are today … The effective, moving, vitalizing work of the world is done between the ages of twenty-five and forty.”

William Osler (1849–1919) Canadian pathologist, physician, educator, bibliophile, historian, author, cofounder of Johns Hopkins Hospi…

Vol. I, Ch. 24 : "The Fixed Period'".
The Life of Sir William Osler (1925)

Men , Age , World , Literature

“There ought to be but one large art warehouse in the world, to which the artist could carry his art-works, and from which he could carry away whatever he needed. As it is, one must be half a tradesman.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

Conversations (January 1801)

World

“Most works of art are, necessarily, bad…; one suffers through the many for the few.”

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

“The Little Cars”, p. 200
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Suffering

“I have always taken the art of the ancient Egyptians as my model, even in purely technical matters.”

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

Quote of Otto Mueller, 1919; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 90

“One judges an epoch as much by its Art as by its customs.”

Henri Gaudier-Brzeska (1891–1915) French painter and sculptor

Letter to Sophie Brzeska-Savage Messiah By H S (Jim) Ede Heinimann (1931)

“White hair covers my temples,
I am wrinkled and gnarled beyond repair,
And though I have got five sons,
They all hate paper and brush.
A-shu is eighteen:
For laziness there is none like him.
A-hsuan does his best,
But really loathes the Fine Arts.
Yung and Tuan are thirteen,
But do not know "six" from "seven."
T'ung-tzu in his ninth year
Is only concerned with things to eat.
If Heaven treats me like this,
What can I do but fill my cup?”

Tao Yuanming (365–427) Chinese poet

白发被双鬓，
肌肤不复实/虽有五男儿,
总不好纸笔/阿舒已二八,
懒惰固无匹/阿宣行治学,
而不爱文术 /雍端年十三 ,
不识六与七/通子垂九龄,
但觅梨与栗/天运够如此,
且进杯中物
"Blaming Sons" (An apology for his own drunkenness, A.D. 406)
Translated by Yuanchong Xu, in Gems of Classical Chinese Poetry in Various English Translations (1988), p. 100
Variant translations:
White hair covers my temples—
My flesh is no longer firm,
And though I have five sons
Not one cares for brush and paper.
Ah-shu is sixteen years of age;
For laziness he surely has no equal.
Ah-hsuan tries his best to learn
But does not really love the arts.
Yung and Tuan at thirteen years
Can hardly distinguish six from seven;
T'ung-tzu with nine years behind him
Does nothing but hunt for pears and chestnuts.
If such was Heaven's decree
In spite of all that I could do,
Bring on, bring on
"the thing within the cup."
William Acker, T'ao the Hermit: Sixty Poems by T'ao Ch'ien (1952), p. 89
My temples are grey, my muscles no longer full.
Five sons have I, and none of them likes school.
Ah-shu is sixteen and as lazy as lazy can be.
Ah-hsuan is fifteen and no taste for reading has he.
Thirteen are Yung and Tuan, yet they can't tell six from seven.
A-tung wants only pears and chestnuts—in two years he'll be eleven.
Then, come! let me empty this cup, if such be the will of Heaven.
Lin Yutang, My Country and My People (1935), p. 68

Hate

“My art is rooted in a single reflection: why am I not as others are?.. my art gives meaning to my life.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in Edvard Munch: Psyche, Symbol and Expression (2001) by Jeffery Howe
after 1930

Life

“Writing should never be allowed to become a substitute for living. Style cannot breath in a void. It should not be forgotten that Dickens was at one time a reporter, Balzac a lawyer's clerk and Tchekov a county doctor. Art is different from life but cannot exist without it.”

André Maurois (1885–1967) French writer

The Art of Writing

Life , Time

“The one place for art-as-art is the museum of fine art. The reason of the museum or fine art is the preservation of ancient and modern art that cannot be made again and that does not have to be done again. A museum of fine art should exclude everything but fine art, and be separate of museums of ethnology, geology, archaeology, history... Any disturbance of a true museum's soundlessness, timelessness, airlessness, and lifelessness is a disrespect.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

History

“How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.”

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

Source: Art & Other Serious Matters, (1985), p. 55, "Evidences of Surreality"

“Engineering has long been conceded a place as one of the modern arts, and has become a well-defined science, with a large and growing literature of its own, and of late years has subdivided itself into numerous and distinct divisions, one of which is that of mechanical engineering. It will probably not be disputed that the matter of shop management is of equal importance with that of engineering, as affecting the successful conduct of most, if not all, of our great industrial establishments, and that the management of works has become a matter of such great and far-reaching importance as perhaps to justify its classification also as one of the modern arts.”

Henry R. Towne (1844–1924) American engineer

Source: "The Engineer as an Economist," 1886, p. 428-9

Literature , Science , Success

“You must do over the same subject ten times, a hundred times. In art nothing must appear accidental, even a movement.”

Edgar Degas (1834–1917) French artist

posthumous quotes, The Shop-Talk of Edgar Degas', (1961)

Appearance , Time

“But trying to be a painter did teach me to look at the world in a very particular way—looking very closely at things, at colors, at how things form themselves in space — and I've always been grateful for that. You have all this space, and you have a figure: what do you do with it? And in a way that’s what all art is. How do we find a place for our creatures, or inventions, in this incoherent space into which we’re thrown?”

John Banville (1945) Irish writer

John Banville, The Art of Fiction No. 200 (2009)

World , Color , Way

“Art before the modern period is as much art as Neanderthal man is man'. It is for this reason that around the same time I replaced the term "work" for art proposition. Because a conceptual work of art in the traditional sense, is a contradiction in terms.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth. (1969), as cited in: Claude Gintz, ‎Musée d'Art Moderne Paris (1989). L'Art conceptuel, une perspective: exposition au Musée d'art moderne de la Ville de Paris, 22 nov. 1989 - 18 fév. 1990. p. 42

Sense , Time

“For the present at least [1909] I shall restrict my work to the ordinary world of the senses, since that is the world in which we still live. But nevertheless art even now form a transition to the finer regions, which perhaps I am incorrect in calling spiritual, for everything that has form is not yet spiritual, as I read somewhere. But it is nonetheless the path of ascension away from matter. Well dear Querido, with many heartfelt wishes, Piet Mondriaan.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote from Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 36
1900's

World , Sense , Reading

“It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste.”

Clement Greenberg (1909–1994) American writer and artist

"Avant Garde Attitudes" http://www.sharecom.ca/greenberg/avantgarde.html, The John Power Lecture in Contemporary Art, University of Sydney, (17 May 1968); printed by The Power Institute of Fine Arts, University of Sydney (1969)
1960s

Parting

“Subject…. no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts.
(Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's]”

Arshile Gorky (1904–1948) Armenian-American painter

in his reply to Questionnaires of the MOMA museum, 1941
Gorky's quote refers on his multi-layered painting technique Gorky applied those days
1930 - 1941

Reality , Painting

“History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part IV, Chapter VI
Les voix du silence [Voices of Silence] (1951)

History , Understanding , Time

“Art is always at peril in universities, where there are so many people, young and old, who love art less than argument, and dote upon a text that provides the nutritious pemmican on which scholars love to chew.”

Robertson Davies book The Cunning Man

Part 2, section 11.
The Cunning Man (1994)

Love , People , Universe

“Goethe, as lately quoted by Matthew Arnold, said those who have science and art have religion; and added, let those who have not science and art have the popular faith; let them have this escape, because the others are closed to them. Without any hold upon the ideal, or any insight into the beauty and fitness of things, the people turn from the tedium and the grossness and prosiness of daily life, to look for the divine, the sacred, the saving, in the wonderful, the miraculous, and in that which baffles reason. The disciples of Jesus thought of the kingdom of heaven as some external condition of splendor and pomp and power which was to be ushered in by hosts of trumpeting angels, and the Son of man in great glory, riding upon the clouds, and not for one moment as the still small voice within them. To find the divine and the helpful in the mean and familiar, to find religion without the aid of any supernatural machinery, to see the spiritual, the eternal life in and through the life that now is--in short, to see the rude, prosy earth as a star in the heavens, like the rest, is indeed the lesson of all others the hardest to learn.”

John Burroughs (1837–1921) American naturalist and essayist

Source: The Light of Day (1900), Ch. IV: Natural Versus Supernatural

Life , People , Faith , Religion

“The art of reasoning is nothing more than a language well arranged.”

Étienne Bonnot de Condillac (1714–1780) French academic

As quoted in Antoine Lavoisier, Elements of Chemistry (trans. Robert Kerr, 1790), Preface, p. xiv.

“…The subjects we study at school can be divided roughly into two groups—the sciences and the arts. The sciences include mathematics, geography, chemistry, physics, and so on. Among the arts are drawing, painting, modelling, needlework, drama, music, literature. The purpose of education is to fit us for life in a civilised community, and it seems to follow from the subjects we study that the two most important things in civilised life are Art and Science.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Life , Education , School , Music

“You too, find release only in art, you are one of those privileged people who have that gift, and you will be free and at peace so long as you make use of it. Art gives us an inner superiority, for it has scope for every sensation of which human beings are capable, and first and foremost for love, which is the basis for knowledge. The artist loves without wanting to possess, and no one on earth can understand that except other artists, that is why other people think us mad.”

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

Letter to Nele van de Velde ((daughter of Henry van de Velde), Frauenkirch, 29 November 1920; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225
1920's

Love , People , Peace , Understanding

“All art is the expression of experience in some medium.”

Sarvepalli Radhakrishnan (1888–1975) Indian philosopher and statesman who was the first Vice President and the second President of India

Internet Encyclopedia of Philosophy

“To Parker Bright, Hannah Black, and other critics of this painting, I say this:
I completely reject your criticism. If only artists of the proper ethnicity can depict violence inflicted on their group, then only writers of the proper ethnicity can write about the same issues, and so on with all the arts. And what goes for ethnicity or race goes for gender: men cannot write about suffering inflicted on women, nor women about suffering inflicted on men. Gays cannot write about straight people and vice versa.
The fact is that we are all human, and we are all capable of sharing, as well as depicting, the pain and suffering of others. I will not allow you to fracture art and literature the way you have fractured politics. Yes, horrible injustices have been visited on minority groups, on women, on gays, and on other marginalized people, but to allow that injustice to be conveyed only by “properly ethnic or gendered artists” is to deny us our common humanity and deprive us of emotional solidarity. No group, whatever its pigmentation or chromosomal constitution, has the exclusive right to create art or literature about their own subgroup. To deny others that right is to censor them.
To those who say this painting has caused them “unnecessary hurt” because it is by a white artist about black pain, I say, “Your own pain about this artwork is gratuitous; I do not take it seriously. It’s the cry of a coddled child who simply wants attention.””

Jerry Coyne (1949) American biologist

" Insane political correctness: snowflakes urge destruction of Emmett Till painting https://whyevolutionistrue.wordpress.com/2017/04/04/insane-political-correctness-snowflakes-urge-destruction-of-emmett-till-painting/" April 4, 2017

Women , Men , Pain , People

“The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought... He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist's function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses.... so the artist is today giving us a vision of the world of truth in terms of visual symbols.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 127

Truth , World , Idea , Sense

“Bless advertising art for its pictorial vitality and verbal creativity.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 18

“What greater challenge today…. to disorder and insensitivity; what greater propaganda for integration than this emotionally intense, dramatic division of space? [quote in 1943, discussing the art of Piet Mondrian ]”

Ad Reinhardt (1913–1967) American painter

Quote of Ad Reinhardt in: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990, p. ?
1940 - 1955

Quotes

“Derangement is the signature expression of the Great Backlash, a style of conservatism that first came snarling onto the national stage in response to the partying and protests of the late sixties. While earlier forms of conservatism emphasized fiscal sobriety, the backlash mobilizes voters with explosive social issues — summoning public outrage over everything from busing to un-Christian art — which it then marries to pro-business economic polices. Cultural anger is marshaled to achieve economic ends. And it is these economic achievements — not the forgettable skirmishes of the never-ending culture wars — that are the movement’s greatest monuments. The backlash is what has made possible the international free-market consensus of recent years, with all the privatization, deregulation, and de-unionization that are its components. Backlash ensures that Republicans will continue to be returned to office even when their free-market miracles fail and their libertarian schemes don’t deliver and their "New Economy" collapses. It makes possible the police pushers’ fantasies of “globalization” and a free-trade empire that are foisted upon the rest of the world with such self-assurance. Because some artist decides to shock the hicks by dunking Jesus in urine, the entire plant must remake itself along the lines preferred by the Republican Party, U. S. A.The Great Backlash has made the laissez-faire revival possible, but this does not mean that it speak to us in the manner of the capitalists of old, invoking the divine right of money or demanding that the lowly learn their place in the great chain of being. On the contrary; the backlash imagines itself as a foe of the elite, as the voice of the unfairly persecuted, as a righteous protest of the people on history’s receiving end. That is champions today control all three branches of government matters not a whit. That is greatest beneficiaries are the wealthiest people on the plant does not give it pause.”

Thomas Frank book What's the Matter with Kansas?

Introduction: What's the Matter with America (pp. 5-6).
What's the Matter with Kansas? (2004)

Money , War , People , World

“I’ve always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That’s what I’ve always done.”

Jeff Koons (1955) American artist

Jeff Koons in: Graeme Green. " 60 SECONDS: Jeff Koons http://metro.co.uk/2007/07/18/60-seconds-jeff-koons-532798/#ixzz3bThr2XKI," at metro.co.uk, 2007/07/18
1990s and later

Feeling

“There is one quality I find in all the artists I admire most – men like Masaccio, Michelangelo, Rembrandt, Cézanne. I mean a disturbing element, a distortion, giving evidence of a struggle of some sort... Great Art is not Perfect. Here the disturbing element comes in. It is instructive to know that Rembrandt copied Mantegna, whose art is the extreme opposite of his own. Why did he do so? Because he was conscious that his own art lacked the classical element. He was aware of the opposite, and that makes him greater.”

Henry Moore (1898–1986) English artist

Quote in 'Conversations with Henri Moore', J.P. Hodin, in 'The Observer', 24 Nov. 1958
1955 - 1970

Men , Perfection

“Art's certainly made a lot of money, and got on a lot of shows — he got himself into the Nixon White House riding on the death of his daughter. And I think that's ghoulish! That's ghoulish.”

Timothy Leary (1920–1996) American psychologist

In a Stanley Siegel interview (c. 1977) http://www.youtube.com/watch?v=3HrdNRvJ7-8, with phone commentary by Art Linkletter who blamed his daughter's death on her involvement with LSD.

Death , Money , Thinking , Housing

“We find that actual, concrete knowledge, that is, the great work of toilsome discovery, has one deadly enemy, omniscience. The Jews are a case in point; if a man possesses a sacred book, which contains all wisdom, then all further investigation is as superfluous as it is sinful: the Christian Church took over the Jewish tradition. This fastening on to Judaism, which was so fatal for our history, is being accomplished before our very eyes; it can be demonstrated step by step. The old Church Fathers, taking their stand expressly upon the Jewish Torah, are unanimous in preaching contempt of art and of science.”

Houston Stewart Chamberlain book The Foundations of the Nineteenth Century

The Foundations of the Nineteenth Century (Die Grundlagen des neunzehnten Jahrhunderts) (1899)

Wisdom , Books , History , Knowledge

“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

Color , Support , Painting

“In an ever-advancing spiral the public was made to believe that only Hollywood-style extravaganzas were worth seeing and that only they could give an accurate sense of the world of art. The resulting box-office pressure made the museums still more dependent on corporate funding. Then came the recessions of the 1970s and 1980s. Many individual donors could no longer contribute at the accustomed rate, and inflation eroded the purchasing power of funds. To compound the financial problems, many governments, facing huge deficits—often due to sizable expansions of military budgets—cut their support for social services as well as their arts funding. Again museums felt they had no choice but to turn to corporation for a bail-out.”

Hans Haacke (1936) conceptual political artist

1980s, "Museums, Managers of Consciousness," 1983

World , Support , Problem , Sense

“Perhaps not only in his attitude towards truth, but in his attitude towards himself, Montaigne was a precursor. Perhaps here again he was ahead of his own time, ahead of our time also, since none of us would have the courage to imitate him. It may be that some future century will vindicate this unseemly performance; in the meanwhile it will be of interest to examine the reasons which he gives us for it. He says, in the first place, that he found this study of himself, this registering of his moods and imaginations, extremely amusing; it was an exploration of an unknown region, full of the queerest chimeras and monsters, a new art of discovery, in which he had become by practice “the cunningest man alive.” It was profitable also, for most people enjoy their pleasures without knowing it; they glide over them, and fix and feed their minds on the miseries of life. But to observe and record one’s pleasant experiences and imaginations, to associate one’s mind with them, not to let them dully and unfeelingly escape us, was to make them not only more delightful but more lasting. As life grows shorter we should endeavour, he says, to make it deeper and more full. But he found moral profit also in this self-study; for how, he asked, can we correct our vices if we do not know them, how cure the diseases of our soul if we never observe their symptoms? The man who has not learned to know himself is not the master, but the slave of life: he is the “explorer without knowledge, the magistrate without jurisdiction, and when all is done, the fool of the play.””

Logan Pearsall Smith (1865–1946) British American-born writer

“Montaigne,” p. 6
Reperusals and Recollections (1936)

Life , People , Pleasure , Truth

“The architect hands over to the rich man with the keys to his palace all the ease and comfort to be found in it without being able to enjoy any of it himself. Must the artist not in this way gradually become alienated from his art, since his work, like a child that has been provided for and left home, can no longer have any effect upon its father? And how beneficial it must have been for art when it was intended to be concerned almost exclusively with what was public property, and belonged to everybody and therefore also to the artist!”

Johann Wolfgang von Goethe book Elective Affinities

Dem Reichen übergibt der Baumeister mit dem Schlüssel des Palastes alle Bequemlichkeit und Behäbigkeit, ohne irgend etwas davon mitzugenießen. Muß sich nicht allgemach auf diese Weise die Kunst von dem Künstler entfernen, wenn das Werk wie ein ausgestattetes Kind nicht mehr auf den Vater zurückwirkt? Und wie sehr mußte die Kunst sich selbst befördern, als sie fast allein mit dem öffentlichen, mit dem, was allen und also auch dem Künstler gehörte, sich zu beschäftigen bestimmt war!
Bk. II, Ch. 3, R. J. Hollingdale, trans. (1971), p. 170
Elective Affinities (1809)

Way , Home

“It’s been said many times in world art writing that one can find some of painting’s meaning by looking not only at what painters do, but what they refuse to do.”

Ad Reinhardt (1913–1967) American painter

1940 - 1955
Source: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226

World , Time , Painting

“Make others feel the same way about it. Without their realizing it! That's the meaning of art... Yes, what I'm aiming for is the logical development of what we see and feel when we observe nature; only then I'm concerned with the process, processes being for us no more than simple ways of getting the public to feel what we ourselves are feeling, and of making our point. The great artists we admire have done no more... Shall we have lunch?”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 160, in: 'What he told me – I. The motif

Way , Feeling , Nature

“Money talk tends to be confusing. When people talk money, they usually think “wealth”, “costs”, “profit”, “income”, “gold”, “greed”, “time” (as in “time is money”), or something like that. In everyday discourse money symbolises capitalism, for better or worse: money as the life or evil force of the economy. As sings to us in the classical musical Cabaret: “Money makes the world go round… ”. The tune resonates when people exclaim “money” in response to the question what they are after in life, or when they say that everything people do ultimately revolves around money. All this talk is clear enough. The confusion enters when we observe the very same people who are so enthused about money, stubbornly suppress any reference to money when it comes to goods like the love for their partner, parents and children, friendship, science (truth!) and art (beauty!).”

Arjo Klamer (1953) Dutch columnist, economist and politician

Arjo Klamer, and Harry van Dalen. "The double-sidedness of money." Etnofoor 13.2 (2000): 89-103.

Love , Life , Money , Friendship

“I think that if I’m still here in ten thousand years, I’m going to be crazy as hell. Ten thousand years, pal! Ten thousand years ago, the state-of-the-art was a goat. You really think you’re going to be anything recognizably human in a hundred centuries?”

Cory Doctorow book Down and Out in the Magic Kingdom

Down and Out in the Magic Kingdom (2003)

Hell , Thinking

“Art's the biggest vanity: the assumption that one's view of peace or fright or beauty is permanently communicable.”

Ned Rorem (1923–2022) American composer

Being Alone http://books.google.com/books?id=IKgYAAAAYAAJ&q=%22Art's+the+biggest+vanity+the+assumption+that+one's+view+of+peace+or+fright+or+beauty+is+permanently+communicable%22&pg=PA21#v=onepage, The Ontario Review (Spring/Summer 1980)

Peace , Beauty

“The novelist with a prudent prodigality may employ descriptions, dialogues, and episodes, which would be fatal in a drama. Characters may be introduced and dismissed without having any important connection with the plot; it is enough if they serve the purpose of the chapter in which they appear. Although as a matter of fine art no character should have a place in a novel unless it form an integral element of the story, and no episode should be introduced unless it reflects some strong light on the characters or incidents, this is a critical demand which only fine artists think of satisfying, and only delicate tastes appreciate. For the mass of readers it is enough if they are mused; and indeed all readers, no matter how critical their taste, would rather be pleased by a transgression of the law than wearied by prescription. Delight condones offence. The only question for the writer is, whether the offence is so trivial as to be submerged in the delight. And he will do well to remember that the greater flexibility belonging to the novel by no means removes the novel from the laws which rule the drama.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

Law , Question , Thinking , Light

“In mysticism, everything is thrown at us directly, without discursiveness and ratiocination, as if it were a matter of course, and we are challenged to follow an unrestrainable will to love, arising out of a tremendously agitated, indiscriminate feeling. … Mystics will—rather than know—their thoughts. … Mysticism witnesses nothing but love; mysticism is nothing but love. … Art shows how it loves, philosophy what it loves; mysticism knows only that it loves.”

Constantin Brunner (1862–1937) German philosopher

Our Christ : The Revolt of the Mystical Genius (1921)

Love , Feeling

“To be looked at [from the other side of his art-work 'The Glass'] with one eye, close to, for almost an hour.”

Marcel Duchamp (1887–1968) French painter and sculptor

an inscription in French title, (translated) – instruction of his artwork, 1918; as quoted from 'Looking at Dada' ed. Sarah Blyth / Edward Powers, MoMa museum, New York 2006, p. 13
1915 - 1925

“This sudden and unexpected revelation of Shakespeare overwhelmed me. The lightning-flash of his genius revealed the whole heaven of art to me, illuminating its remotest depths in a single flash. I recognised the meaning of real grandeur, real beauty, and the real dramatic truth.”

Hector Berlioz Mémoires

Shakespeare, en tombant ainsi sur moi à l'improviste, me foudroya. Son éclair, en m'ouvrant le ciel de l'art avec un fracas sublime, m'en illumina les plus lointaines profondeurs. Je reconnus la vraie grandeur, la vraie beauté, la vraie vérité dramatiques.
Source: Mémoires (1870), Ch. 18, p. 66

Truth , Beauty

Quotes about art page 36

Quotes about art
page 36