Quotes about art
page 40

“Good science and good art are always about a condition of awe … I don’t think there is any other function for the poet or the scientist in the human tribe but the astonishment of the soul.”

Derek Walcott (1930–2017) Saint Lucian–Trinidadian poet and playwright

Uncommon Genius: How Great Ideas are Born (Penguin, 1990), pp. 176

Soul, Thinking, Science

“Those on the side of the Mahdi (pbuh) would always talk about stopping the bloodshed, about love, compassion, freedom, peace, science, arts and aesthetics.”

Harun Yahya (1956) Turkish author

16 June 2013.
A9 TV addresses, 2013

Love, Peace, Freedom, Science

“Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Rudolph Steiner, c. 1921-23; as quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 85
1920's

Way, Nature

“This is Bruno's fundamental idea. He says: ”To recognize this unity of form and matter in all things, is what reason is striving to attain to. But in order to penetrate to this unity, in order to investigate all the secrets of Nature, we must search into the opposed and contradictory extremes of things, the maximum and the minimum” It is in these very extremes that they are intelligible, and become united in the Notion; and this union of them is infinite Nature. “To find the point of union is not the greatest matter; but to develop from, the same its very opposite, this is the real and the deepest secret of the art” It is saying much if we speak of knowing the development of the Idea as a necessity of determinations; we shall see later how Bruno proceeded to do this. He represents the original principle, which is elsewhere known as the form, under the Notion of the minimum, which is at the same time the maximum One, which at the same time is All; the universe is this One in All.”

Georg Wilhelm Friedrich Hegel book Lectures on the Philosophy of History

Georg Wilhelm Friedrich Hegel, Lectures on the Philosophy of History Vol 3 1837 translated by ES Haldane and Francis H. Simson) first translated 1896 P. 128
Lectures on the Philosophy of History (1832), Volume 3

Secret, Search, Intelligence, Idea

“Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Arp on Arp: poems, essays, memories. p. 327 (1958)
1950s

Nature, Light, Animals, Painting

“A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

a remark on the art of Sophie Taeuber, whom he later married.
in Abstract Painting Michel Seuphor, Dell Publishing Co., 1964, p. 58
1960s

Life, Peace, Color, Decision

“Cunning is the art of concealing our own defects, and discovering other people's weaknesses.”

William Hazlitt (1778–1830) English writer

No. 101
Characteristics, in the manner of Rochefoucauld's Maxims (1823)

People

“The practice of "reviewing"… in general has nothing in common with the art of criticism.”

Henry James (1843–1916) American novelist, short story author, and literary critic

Criticism (1893).

“[In the introduction to his Middle Commentary on Aristotle's Topics, Averroes said] This art has three parts. The first part sets forth the speeches from which dialectical conversation is composed — i. e., its parts, and the parts of its parts on to its simplest components. This part is found in the first treatise on Aristotle's book.
The second part sets forth the topics from which syllogisms are drawn — syllogisms for affirming something or denying it with respect to every kind of problem occurring in this art. This is the next six treatises of Aristotle's book
The third part set forth how The third part sets forth how the questioner ought to question and the answerer answer. It also sets forth how many kinds of questions and answers there are. This is in the eighth treatise of Aristotle's book.”

Averroes (1126–1198) Medieval Arab scholar and philosopher

Averroës, Charles Edwin Butterworth (1977) Averroës' Three Short Commentaries on Aristotle's "Topics,". p. 92

Books, Question, Problem, Parting

“The law of value is no longer simply a reflection of the relations of production; the monopoly capitalists — even while employing purely empirical methods — surround that law with a complicated scaffolding that turns it into a docile servant. The superstructure imposes a kind of art in which the artist must be educated. Rebels are subdued by the machine, and only exceptional talents may create their own work. The rest become shamefaced hirelings or are crushed.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Man and Socialism in Cuba (1965)

Education, Law

“Phallic symbols. You know Catholics. I used to draw people naked all the time in my art class and my nun teachers used to tell me I had to put clothes on them. So I just drew lines around their bodies. See-through clothes.”

Madonna (1958) American singer, songwriter, and actress

Madonna Interview : Island Magazine (October 1983), Island, 1983-10-01 http://allaboutmadonna.com/madonna-library/madonna-interview-island-magazine-october-1983, (When asked what she used to draw as a kid).

People, Teachers, Time, Drawing

“Art can have a considerable influence on our own response to nature. It can enhance our vision, so that we become aware of a new and deeper meaning in what we see around us.”

Walter Thomas Monnington (1902–1976) British artist

Unsourced

Nature

“I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

Life, Beauty, Color, Thinking

“In a field of ripening corn I came to a place which had been trampled down by some ruthless foot; and as I glanced amongst the countless stalks, every one of them alike, standing there so erect and bearing the full weight of the ear, I saw a multitude of different flowers, red and blue and violet. How pretty they looked as they grew there so naturally with their little foliage! But, thought I, they are quite useless; they bear no fruit; they are mere weeds, suffered to remain only because there is no getting rid of them. And yet, but for these flowers, there would be nothing to charm the eye in that wilderness of stalks. They are emblematic of poetry and art, which, in civic life—so severe, but still useful and not without its fruit—play the same part as flowers in the corn.”

Arthur Schopenhauer book Parerga and Paralipomena

“Similes, Parables and Fables” Parerga and Paralipomena, vol. 2, § 380A
Parerga and Paralipomena (1851)

Life, Flowers, Nature, Suffering

“Our wearier spirit faints,
Vexed in the world‘s employ:
His soul was of the saints;
And art to him was joy.”

Lionel Johnson (1867–1902) English poet

By the Statue of King Charles at Charing Cross (1895)

Soul, Joy

“The hours I spend with you I look upon as sort of a perfumed garden, a dim twilight, and a fountain singing to it… you and you alone make me feel that I am alive… Other men it is said have seen angels, but I have seen thee and thou art enough.”

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

Letter to Lady Emerald Cunard, quoted in The Everything Wedding Vows Book : Anything and Everything You Could Possibly Say at the Altar, and then Some. (2001) by Janet Anastasio and Michelle Bevilacqua, p. 97.

Men, Angels, Feeling, Singing

“By several proofs experience art has made,
Example being guide.”
Per varios usus artem experientia fecit, Exemplo monstrante viam.

Marcus Manilius Astronomica

Book I, line 61. Quoted by Michel de Montaigne in Essays, Vol. III, Ch. 13 (tr. Charles Cotton).
Variant translation: Experience, after many trials, perfected the art, example showing the way.
Astronomica

“Art is long, life is short.”
Ars longa, vita brevis.

Horace (-65–-8 BC) Roman lyric poet

Seneca's (De Brevitate Vitae, 1.1) Latin translation of the Greek by Hippocrates.
Misattributed

Life

“Degrade first the arts if you'd mankind degrade,
Hire idiots to paint with cold light and hot shade.”

William Blake (1757–1827) English Romantic poet and artist

Annotations to Sir Joshua Reynolds's Discourses, title page (c. 1798–1809)
1790s

Light, Painting

“How should one approach the person of van Gogh in order to be able to build a statue of him? How can one place him outside of himself, separate him from the tragic character of his life? How can one build a statue in the open air which simultaneously evokes the rare and the new person who was van Gogh, as also the enormity of the new aspect of the current and future art of painting?”

Ossip Zadkine (1890–1967) French sculptor

Quote in: 'Le Maillet et le Ciseau', (early 1956); as quoted in Zadkine and Van Gogh, ed. Garance Schabert and Ron Dirven (transl. Anne Porcelijn), Vincent van Goghhuis, Zundert & Scriptum Art, Schiedam 2008, p.29
1940 - 1960

Life, Future, Painting, Personality

“I have received a commission to make a poster against war. That is a task that makes me happy. Some may say a thousand times that this is not pure art…. but as long as I can work, I want to be effective with my art.”

Käthe Kollwitz (1867–1945) German artist

Letters of Friendship and Acquaintance [Briefe der Freundschaft und Begegnungen] (1966), edited by Hans Kollwitz, p. 95; cited in Käthe Kollwitz: Woman and Artist (1976) by Martha Kearns, p. 172.
Other Quotes

War, Happiness, Time

“In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 61-63

Life, People, Truth, Law

“The essence of art can never change. I'm convinced you can't talk about art. At best, you will have a translation, a poetic paraphrase, & as for that I'll leave that to the poets.”

Karl Schmidt-Rottluff (1884–1976) German artist

Source: New Program - Kunst & Kunstler, Berlin 1914

Change

“In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 334)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Nature, Drawing

“To summarize: We have seen that computer programming is an art, because it applies accumulated knowledge to the world, because it requires skill and ingenuity, and especially because it produces objects of beauty. A programmer who subconsciously views himself as an artist will enjoy what he does and will do it better. Therefore we can be glad that people who lecture at computer conferences speak of the state of the Art.”

Donald Ervin Knuth (1938) American computer scientist

Source: Computer Programming as an Art (1974), p. 673 [italics in source]

People, World, Beauty, Knowledge

“Science, like art, is not a copy of nature but a re-creation of her.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Part 1: "The Creative Mind", §9 (p. 20)
Science and Human Values (1956, 1965)

Nature, Science

“Who has studied the works of such men as Euler, Lagrange, Cauchy, Riemann, Sophus Lie, and Weierstrass, can doubt that a great mathematician is a great artist? The faculties possessed by such men, varying greatly in kind and degree with the individual, are analogous with those requisite for constructive art. Not every mathematician possesses in a specially high degree that critical faculty which finds its employment in the perfection of form, in conformity with the ideal of logical completeness; but every great mathematician possesses the rarer faculty of constructive imagination.”

E. W. Hobson (1856–1933) British mathematician

Source: Presidential Address British Association for the Advancement of Science, Section A (1910), p. 290. ; Cited in: Moritz (1914, 184): Mathematics as a fine art.

Men, Imagination, Study, Perfection

“I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave.”

Berthe Morisot (1841–1895) painter from France

in a letter to her sister Edma Morisot, c. Jan 1884; as cited in: Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 124
1881 - 1895

Death, Boy, Revenge, Thinking

“It is, of course, a common prejudice that censorship is bad for art and therefore always unjustified: though, if this were so, mankind would have little in the way of an artistic heritage and we should now be living in an artistic golden age.”

Theodore Dalrymple (1949) English doctor and writer

What’s Wrong with Twinkling Buttocks? http://www.city-journal.org/html/13_3_oh_to_be.html (Summer 2003). City Journal (1998 - 2008)

Age, Way

“No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of æsthetic, not merely historical, criticism.”

T.S. Eliot book Tradition and the Individual Talent

Tradition and the Individual Talent (1919)

Dead

“And as the ideal in the whole of Nature moves in an infinite process toward an Absolute Perfection, we may say that art is in strict truth the apotheosis of Nature. Art is thus at once the exaltation of the natural toward its destined supernatural perfection, and the investiture of the Absolute Beauty with the reality of natural existence. Its work is consequently not a means to some higher end, but is itself a final aim; or, as we may otherwise say, art is its own end. It is not a mere recreation for man, a piece of by-play in human life, but is an essential mode of spiritual activity, the lack of which would be a falling short of the destination of man. It is itself part and parcel of man's eternal vocation.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.183-4

Life, Truth, Beauty, Nature

“If it is asked why Socrates permits certain forms of art to be retained in the ideal state instead of consistently banishing all alike, the answer is surely obvious: these are, in the opinion of Socrates, the forms which art will take in the hands of men who understand its true nature.”

R. G. Collingwood (1889–1943) British historian and philosopher

R. G. Collingwood (1925). "Plato’s philosophy of art." In: Mind. Vaduz, vol. XXXIV, pp.156-7

Men, Understanding, Nature

“If an object is pleasant, repetition will increase its charm; if it expresses sorrow or pain, then repetition will intensify its melancholy. On the contrary, any subject that is peculiar or unpleasant will be made unbearable by repetition. So repetition always acts to increase intensity. Since the time that this principle of harmony was employed by the primitives, it has been visually lost, and so forgotten. One strove for the charm of variety, and so achieved the destruction of unity... Variety is just as much an element of beauty as parallelism, provided that one does not exaggerate it. For the structure of our eye itself demands that we introduce some variety into any absolutely unified object... To be simple is not always as easy as it seems... The work of art will bring to light a new order inherent in things, and this will be: the idea of unity.”

Ferdinand Hodler (1853–1918) Swiss artist

another source of his 'parallelism' concept is Hodler's letter, written in 1904 to de:Franz Servaes; in which Hodler explained his design principle of 'parallelism', later adopted by the Vienna Secession artists. The Leopold Museum in Vienna discovered and owns this letter
from: Die Kunst Ferdinand Hodlers, 1923

Pain, Beauty, Idea, Light

“I was on the football team because I wanted to experience the different iconic social classes of high school. So football for me was an attempt to socially integrate in an interesting way. And then I didn’t like it anymore and stopped doing it and focused more on drama and science and other forms of art and music.”

Reggie Watts (1972) singer, musician and comedian

Cited in: " Comedy Bang! Bang! sidekick extraordinaire Reggie Watts sits down to talk at SXSW 2013 http://www.ifc.com/fix/2013/03/sxsw-2013-reggie-watts-on-music-high-school-and-hair" ifc.com. Posted March 10th, 2013, 8:03 PM by Melissa Locker: Watts reply to the question "You were on the football team!"

School, Music, Way, Science

“Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations. It is a question of producing ourselves, not things that enslave us.”

Guy Debord (1931–1994) French Marxist theorist, writer, filmmaker and founding member of the Situationist International (SI)

Internationale Situationist (no. 1, Paris, June 1958).

Question, Past

“We have 6,000 kids every day drop out in this country. And they don't drop out because they're dumb. They drop out because they're bored to death. They're in a 19th century education system in a 21st century world. If we really are serious, then, first of all, we make sure that we build the curriculum around their interests, rather than just push them into something they don't care. Second thing, unleash weapons of mass instruction. I'm a passionate, ardent supporter of having music and art in every school for every student at every grade level.”

Mike Huckabee (1955) Arkansas politician

Republican presidential candidate debate, Johnston, Iowa, 2007-12-12
Republican Debates

Death, World, Education, School

“Protocols:
Number 1, paras. 9,10
If every State has two foes, and if in regard to the external foe it is allowed and not considered immoral to use every manner and art of conflict, as for example to keep the enemy in ignorance of plans of attack and defense, to attack him by night or in superior numbers, then in what way can the same means in regard to a worse foe, the destroyer of the structure of society and the commonweal, be called immoral and not permissible?
Is it possible for any sound logical mind to hope with any success to guide crowds by the aid of reasonable counsels and arguments,, when any objection or contradiction, senseless though it may be, can be made and when such objection may find more favor with the people, whose powers of reasoning are superficial?
Graves: The basic ideas are the same despite word changes like… “two kinds of enemies” versus, “two foes.””

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.74

People, Hope, Way, Idea

“Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them.”

Franz Marc (1880–1916) German painter

quote from Franz Marc's note in 1907, he wrote down on his return from Paris; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 126
1905 - 1910

Life, Truth, Dreams, Question

“Taste was his world. Rilke behaved as if art were taste elevated to the highest possible degree. The armigerous chatelaines who played hostess were happy to believe it, since the idea made them artists too.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

Sergei Diaghilev, p. 172
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Happiness, World, Idea

“Half the trouble about the modern man is that he is educated to understand foreign languages and misunderstand foreigners.”

G. K. Chesterton (1874–1936) English mystery novelist and Christian apologist

Source: The Autobiography of G.K. Chesterton http://books.google.com/books?id=9_m6AAAAIAAJ&q=%22Half+the+trouble+about+the+modern+man+is+that+he+is+educated+to+understand+foreign+languages+and+misunderstand+foreigners%22&pg=PA322#v=onepage (1936)

Education, Understanding

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Color, Idea, Question, Personality

“I don't do it for the money. I've got enough, much more than I'll ever need. I do it to do it. Deals are my art form. Other people paint beautifully on canvas or write wonderful poetry. I like making deals, preferably big deals. That's how I get my kicks.”

Donald J. Trump (1946) 45th President of the United States of America

Source: 1980s, Trump: The Art of the Deal (1987), p. 1

Money, People, Painting

“Re-wind when the crowd say Bo' Selecta ** song Artful Dodger Feat. Craig David - Re-Rewind”

Craig David (1981) English singer

“The historian is looked upon as objective when he measures the past by the popular opinions of his own time, as subjective when he does not take these opinions for models. That man is thought best fitted to depict a period of the past, who is not in the least affected by that period. But only he who has a share in building up the future can grasp what the past has been, and only when transformed into a work of art can history arouse or even sustain instincts.”

Georg Brandes (1842–1927) Danish literature critic and scholar

Source: An Essay on Aristocratic Radicalism (1889), pp. 18-19

History, Time, Past, Future

“In Europe itself it is not probable that war will ever absolutely cease until science discovers some destroying force so simple in its administration, so horrible in its effects, that all art, all gallantry, will be at an end, and battles will be massacres which the feelings of mankind will be unable to endure.”

William Winwood Reade (1838–1875) British historian

Source: The Martyrdom of Man (1872), Chapter IV, "Intellect", pp. 405-6.

War, Feeling, Science

“Life without industry is guilt, and industry without art is brutality.”

John Ruskin (1819–1900) English writer and art critic

Lecture III
Lectures on Art (1870)

Life

“Art imitates nature not in its effects as such, but in its causes, in its ‘manner,’ in its process, which are nothing but a participation in and a derivation of actual objects, of the Art of God himself.”

Paul Claudel (1868–1955) French diplomat

as quoted in "The man who got it right," The New York Review of Books, Volume 60, Number 13, August 15, 2013, p. 72

God, Nature

“Most arts have produced miracles, while the art of government has produced nothing but monsters.”

Louis Antoine de Saint-Just (1767–1794) military and political leader

Tous les arts ont produit des merveilles: l'art de gouverner n'a produit que des monstres. Discours sur la Constitution à donner à la France http://www.royet.org/nea1789-1794/archives/discours/stjust_constitution_24_04_93.htm, speech to the National Convention (April 24, 1793).

“Art is nothing but humanized science.”

Gino Severini (1883–1966) Italian painter

Quoted in: Deric Regin (1968) Culture and the Crowd. p. 86

Science

“Hence, in Thee, who art Love, the lover -is not one thing and the loved another, and the bond between them a third, but they are one and the same-Thou, Thyself, my God. Since, then, in Thee the loved is one with the lover, and being loved [is one] with loving, this bond of coincidence is an essential bond. For there is nothing in Thee that is not Thy very Essence.”

Nicholas of Cusa (1401–1464) German philosopher, theologian, jurist, and astronomer

De visione Dei (On The Vision of God) (1453)

Love, God, Lovers

“All the genres of philosophy, science, high art, athletics and politics were invented by men. But by the Promethean law of conflict and capture, woman has a right to seize what she will and vie with man on her own terms.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 9

Men, Law, Science

“SPAN ID=Language_that_is> Language, that is to say, is the indispensable mechanism of human life -- of life such as ours that is molded, guided, enriched, and made possible by the accumulation of the past experience of members of our own species. Dogs and cats and chimpanzees do not, so far as we can tell, increase their wisdom, their information, or their control over their environment from one generation to the next. But human beings do. The cultural accomplishment of the ages, the invention of cooking, […] and the discovery of all the arts and sciences come to us as free gifts from the dead. These gifts, which none of us has done anything to earn, offer us not only the opportunity for a richer life than our forebears enjoyed but also the opportunity to add to the sum total of human achievement by our own contributions, however small they may be.

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), The Pooling of Knowledge, p. 13

Life, Wisdom, Age, Dogs

“I feel it, but I cannot express it,… I cannot analyse the Celtic genius to my own satisfaction. In the Middle Ages art came from groups, not from individuals. It was anonymous; the sculptors of cathedrals no more put their names to their works than our workmen put theirs on the pavement that they lay. Ah! what an admirable scorn of notoriety! The signature is what destroys us. We do portraits, but what we do is not so great. Thèse kings and queens, on the cathedrals, were not portraits. The fellow-workers stood for one another, and they interpreted; they did not copy. They made clothed figures; the nude and portraiture only date from the Renascence. And then those fellows cut with the tool's end into the block, that is why they were called sculptors. As for us, we are modellers. And what a disgraceful thing that casting from life is, which so many well-known sculptors do not blush to use! It is a mere swindling in art. Art was a vital function to the image-makers of the thirteenth century; they would hâve laughed at the idea of signing what they did, and never dreamed of honours and titles. When once their work was finished, they said no more about it, or else they talked among themselves. How curious it would hâve been to hear them, to be present at their gatherings, where they must hâve discussed in amusing phrases, and with simple, deep ideas!… Whenever the cathedrals disappear civilisation will go down one step. And even now we no longer understand them, we no longer know how to read their silent language. We need to make excavations not in the earth, but towards heaven…”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 63-64; About the genius of the Gothic sculptors.

Life, Age, Dreams, Feeling

“There is, I think, no more nutritive or suggestive truth… than that of the perfect dependence of the "moral" sense of a work of art on the amount of felt life concerned in producing it. The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs.”

Henry James book The Portrait of a Lady

The Portrait of a Lady.
Prefaces (1907-1909)

Life, Truth, Spring, Question

“When I was at school, on certain afternoons we all had to do what was called Labour — weeding, sweeping, sawing logs for the boiler-room, that sort of thing; but if you had a chit from Matron you were let off to spend the afternoon messing about in the Art Room. Labour or Art. And you've got a chit for life? Where did you get it? What is an artist? For every thousand people there's nine hundred doing the work, ninety doing well, nine doing good, and one lucky bastard who's the artist.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

Life, People, School

“Of these two literatures, as of the intellect of Europe in general, the main effort, for now many years, has been a critical effort; the endeavour, in all branches of knowledge — theology, philosophy, history, art, science — to see the object as in itself it really is.”

Matthew Arnold On Translating Homer

On Translating Homer (1861)

History, Literature, Knowledge, Effort

“Did you sleep well last night?” asked Glorian.
“Yes, I suppose,” said Dore, “although I was trouble by a strange dream.”
“Oh? Perhaps it was some sort of omen. Tell me of it.”
“Certainly,” said Dore. “I dreamed of a domino.”
“Just one?”
“Yes, just the one. All night. No people or sounds in the dream, just the domino. The five-three.”
“Wonderful!” cried Glorian. “The five-three is a lucky little devil. It presages victory after hardships. It confirms your inner ambition, but counsels you to avoid extremes, to temper pleasure with practicality. Advances in music, art, and drama are indicated. Rely on good manners and good taste. The five-three is a domino of hope and good news.”

George Alec Effinger (1947–2002) Novelist, short story writer

“Are you making that up?” said Dore suspiciously.
Source: What Entropy Means to Me (1972), Chapter 6 “A Perilous Scheme” (p. 111).

People, Pleasure, Dreams, Hope

“When the peace of autumn has become poetic instead of being taken for granted, the last day of the plover become a matter of personal regret, the pony become associated with the history of art and mythology, the evening ice-film on the farm stream become reminiscent of crystal, and the smoke from the chimney become a message to us from those who discovered fire—then the time has come to say goodbye... I had long begun to count the days until I could once again leave home, where I felt an alien, and go out into the alien world, where I was at home. But still I paused for a while over my thoughts of departure, and listened to the silence that had robbed the gods of sleep; and dusk sank slowly over the ponies.”

Halldór Laxness book The Atom Station

Atómstöðin (The Atom Station) (1948)

God, World, Peace, Home

“I knew metal working before I knew Calder [famous for his sculptures, made in sheet metal], and Calder is one of our great men and he is earlier by a few years than any of the rest of us [in American Abstract Expressionism ]. Calder had worked in Paris quite a bit in the early days, though he did go to school here in New York at the Art Student's League... After my first year in college I had worked on the assembly line in the Studebaker plants up in Indiana..”

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

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 10
1960s

Men, School

“Boccioni and I were swiftly persuaded that with this show in Paris we were staking our all; for a flop would have meant kissing our fine aspirations goodbye. This is why we decided to go to Paris, to see what the art situation there was like.”

Carlo Carrà (1881–1966) Italian painter

Quote in: Éclat de choses ordinaries Carrà, (1913), as quoted in Futurism, Didier Ottinger (ed.), 2008, p. 27
1910's

Kiss

“Physicists describe the two properties of physical laws—that they do not depend on when or where you use them—as symmetries of nature. By this usage physicists mean that nature treats every moment in time and every location in space identically—symmetrically—by ensuring that the same fundamental laws are in operation. Much in the same manner that they affect art and music, such symmetries are deeply satisfying; they highlight an order and coherence in the workings of nature. The elegance of rich, complex, and diverse phenomena emerging from a simple set of universal laws is at least part of what physicists mean when they invoke the term "beautiful."”

Brian Greene book The Elegant Universe

The Elegant Universe (1999) Ch. 7 The "Super" in Superstrings.

Law, Beauty, Music, Nature

“Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.”

Willa Cather (1873–1947) American writer and novelist

"Light on Adobe Walls"
Willa Cather on Writing (1949)

Truth, Feeling, Imagination, Freedom

“Marriage, sanctified by the bond of fidelity, is the nearest life gets to a work of art.”

Jonathan Sacks (1948) British rabbi

Source: From Optimism to Hope (2004), p. 69

Life, Marriage

“The art of concluding from experience and observation consists in evaluating probabilities, in estimating if they are high or numerous enough to constitute proof. This type of calculation is more complicated and more difficult than one might think. It demands a great sagacity generally above the power of common people. The success of charlatans, sorcerors, and alchemists — and all those who abuse public credulity — is founded on errors in this type of calculation.”

Benjamin Franklin (1706–1790) American author, printer, political theorist, politician, postmaster, scientist, inventor, civic activist, …

Benjamin Franklin and Antoine Lavoisier, Rapport des commissaires chargés par le roi de l'examen du magnétisme animal (1784), as translated in "The Chain of Reason versus the Chain of Thumbs", Bully for Brontosaurus (1991) by Stephen Jay Gould,. p. 195.
Decade unclear

People, Error, Thinking, Success

“In our own time, every earthenware vessel or piece of jewelry, every utensil or garment, has to be designed on paper before it is made. Primitive peoples, however, create their works with the material itself in the artist's hand, held in his fingers. They aspire to express delight in form and the love of creating it. Absolute originality, the intense and often grotesque expression of power and life in very simple forms – that may be why we like these works of native art.”

Emil Nolde (1867–1956) German artist

6.
1900 - 1920, On Primitive Art – Emil Nolde, 1912

Love, Life, People, Time

“Thought must be judged by something that is not thought, by its effect on production or its impact on social conduct, as art today is being ultimately gauged in every detail by something that is not art, be it box-office or propaganda value.”

Max Horkheimer book Eclipse of Reason

describing the pragmatist view, p. 51.
Eclipse of Reason (1947)

Gauge, Box

“The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received 'indoors' and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition 'second hand' works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it's not possible to say 'everything' in one way.”

Richard Long (1945) artist

Richard Long, ‎British Council (1994). Richard Long: São Paulo Bienal 1994.
1990s

World, Way, Imagination, Photo

“I see, Lord, through Thine infinite mercy, that Thou art Infinity encompassing all things. Nothing exists outside Thee, and all things -in Thee are not other than Thee”

Nicholas of Cusa (1401–1464) German philosopher, theologian, jurist, and astronomer

De visione Dei (On The Vision of God) (1453)

“I think art certainly is the vehicle for us to develop any new ideas, to be creative, to extend our imagination, to change the current conditions.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei Does Not Feel Powerful, 2011

Imagination, Idea, Thinking, Change

“I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor Opens the Door:Modern Artist Creates Monuments that Transcend Space & Time

World, Way, Idea, Thinking

“Art is merciless observation, sympathy, imagination, and a sense of detachment that is almost cruelty.”

Michael Powell (1905–1990) English film director

Attributed

Imagination, Sense

“Art and Science are two different streams which rise from the same creative force and flow into the same ocean of the common culture, but the currents of these two streams flow in different directions.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1957), as cited in: Gabo: Construction, Sculpture, Paintings, Drawings, Engravings. p. 164.
1936 - 1977

Science

“It is, of course, a luxury to create art and, on top of this, to insist on expressing one's own artistic opinion. Nothing is more luxurious than this. It is a game and a good game, at least for me; one of the few games which make life, difficult and depressing as it is sometimes, a little more interesting.”

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

1930s, On my Painting (1938)

Life, Game

“An art of expression should begin with childhood, and the lucid use of one's mother tongue should be typical of that art.
The sense of reality should be strengthened from the beginning, yet by no means at the cost of those lofty illusions we call patriotism, veneration, love.”

Louis Sullivan (1856–1924) American architect

Education (1902)

Love, Reality, Sense, Childhood

“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1962; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 1960's

God, Search, Sense

“Indian art has been the product of Indian culture as the Greek art has been the product of Greek culture or the Roman art has been the product of Roman culture. Indian culture, however, has been the product of two streams of thoughts and practices, one, the Folk, belonging to the oral traditions operating at the folk level, in the villages, and, the other, classical, belonging to the sophisticated literary traditions, the former is sometimes called 'Lower Tradition' and the latter 'Higher Tradition.”

Swaraj Prakash Gupta (1931–2007) Indian archaeologist and art historian

Elements of Indian Art (2002)

“I myself am by both temperament and training inclined to texts. I am neither an archaeologist nor an art historian; I am a Sanskritist, indeed a recovering Orientalist, of a generation that framed its study of Sanskrit with Latin and Greek rather than Urdu or Tamil. I’ve never dug anything up out of the ground or established the date of a sculpture. I’ve labored all my adult life in the paddy fields of Sanskrit, since I know ancient India best.”

Wendy Doniger (1940) American Indologist

Source: The Hindus: An Alternative History https://books.google.co.in/books?id=nNsXZkdHvXUC&pg=PA35, Oxford University Press, 30 September 2010, p. 35.

Life, Study, Training

“Art is not hysteria. Art is as natural to man as is thought, it is a normal function of his brain. Art is observation and consciousness. It is not an instinct, vague, indecisive, sickly. Art is an eternal source – life, and an unlimited expression, the individual. These two elements, well-adapted, make masterpieces... All speech that a human being finds to give a new impression is of art. Why believe that the speech must be epileptic to become art?... Such is art. It is the product of life and the individual. It is born from their clash, from the received impression. But this impression is made once, for then it is no longer, neither life nor the individual..”

Marianne von Werefkin (1860–1938) expressionist painter

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

Life, Nature, Indecision

“To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall.”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

"On the Educational Value of the Natural History Sciences" (1854) p. 29 http://books.google.com/books?id=FJZWAAAAcAAJ&pg=PA29 1850s

History, Nature, Personality, Sea

“Young painters are amazingly involved in their own research and are coming into their own personal perceptions. There is great hope for the future of art here. We will be the most vital art expression in the world.”

S. H. Raza (1922–2016) Indian artist

This is a sum of all my experiences: SH Raza

World, Hope, Future, Personality

“I think classical music is a great, beautiful art as long as people recognize it. But first we need to calm down and listen to it with heart. In this technologically advanced time, too many things are drawing peoples' attention. Sometimes we need to slow down, look back and feel the beauty of art and life.”

Lang Lang (1982) Chinese pianist

huffingtonpost.com http://www.huffingtonpost.com/2012/09/26/lang-lang_n_1912686.html.

Life, People, Beauty, Music

““We may suffer for it when the balance of things rights itself, but we do not lose hope and forego art and forget the words of the Making. Nature is not unnatural. This is not a righting of the balance, but an upsetting of it. There is only one creature who can do that.”
“A man?” Arren said, tentative.
“We men.”
“How?”
“By an unmeasured desire for life.”
“For life? But it isn’t wrong to want to live?”
“No. But when we crave power over life—endless wealth, unassailable safety, immortality—then desire becomes greed. And if knowledge allies itself to that greed, then comes evil. Then the balance of the world is swayed, and ruin weighs heavy in the scale.””

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

Source: Earthsea Books, The Farthest Shore (1972), Chapter 3, "Hort Town" (Ged and Arren)

Life, Men, World, Hope

“The evolution of art has nothing to do with the revolution of society.”

Isidore Isou (1925–2007) Romanian-born French poet, film critic and visual artist

Venom and Eternity (1951), Danielle's Monologue

“I was tired of painting. So many collectors bought paintings and locked them in bank vaults. The stained-glass windows allowed me to make public art…. One day a woman stopped me in the street to talk to me about Champ-de-Mars metro station. "Whether it's sunny, rainy, or snowing, I love your stained-glass windows at Champ-de-Mars. Those big dancing shapes always warm my heart." That woman was neither a collector nor an art critic, but she understood the meaning I meant to give that work.”

Marcelle Ferron (1924–2001) Canadian artist

Original in French: J'étais dégoûtée de la peinture. Bon nombre de collectionneurs achetaient des tableaux pour les enfermer dans des voûtes de banques. Les verrières m'ont permis de faire de l'art public.... Un jour, une femme m'a abordée dans la rue pour me parler de la station de métro Champ-de-Mars. « Qu'il fasse beau, qu'il pleuve ou qu'il neige, j'adore vos verrières du Champ-de-Mars. Ces grandes formes qui dansent me font chaud au coeur. » Cette femme n'étaient ni une collectionneuse ni une critique d'art, mais elle avait compris le sens que j'avais voulu donner à cette oeuvre.
L'esquisse d'une mémoire, 1996

Love, Heart, Dance, Painting

“I believe that art has a kind of Rightness, as in music, when we hear whether or not a note is false. And that's why classical paintings, which are right in their own terms, are so necessary for me. In addition to that there's nature, which also has this rightness.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 106, note 59

Music, Nature, Painting, Falseness

“Pop Art is the use of commercial art as a subject matter in painting, I suppose. It was hard to get a painting that was despicable enough so that no one would hang it – everybody was hanging everything. It was almost acceptable to hang a dripping paint rag, everybody [in America, mainly in New York, 1950s] was accustomed to this. The one thing everyone hated was commercial art; and apparently they didn’t hate that enough either.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Hate, Painting

“Art is created in a state of delirium. Anyting else is the restoration of monuments. Collectors are artist that do not have a home. they have to make one for themselves.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 226 (2003)

Home

“I was born on 23 November 1890 in a village in the province of Smolensk. Grew up in Smolensk, in the home of my grandfather, a cap-maker. Completed secondary school there. At the age of 15 I started earning money by giving drawing lessons. Passed the entrance examination of the art academy in Leningrad but, being a Jew, was not admitted due to the restricted percentage.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

Money, Age, School, Home

“In the years when I was trying to get my work shown and accepted and so forth, I went to work for the Pennsylvania Railroad and that was my formal art school. You can learn a hell of a lot about sculpture, working in a railroad. The thing about getting a job outside of art is the fact that you can finds out whole areas of materials. I don't mean new ones. I mean old ones like scrap iron. A railroad is essentially a big collection of scrap iron, and that’s why it's great. You get out and beyond the art confine.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 27

School, Hell, Learning

“Abstract art.. searches for new ways to achieve harmony and equilibrium.”

Ilya Bolotowsky (1907–1981) artist

Quoted in An Interview with Ilya Bolotowsky conducted by Paul Cummings for the Archives of American Art (24 April 1968)

Way, Search

“The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his courage to smile in a frozen wasteland, and by the simple fact that he wore a fur coat rather than a military uniform: this gentle hunter wasn’t a conqueror. Later, I understood how great Flaherty was: he told a timeless story without using commentary or pedagogues, and he didn’t interview Nanook like a celebrity or an aggressive talk-show host. He remained off-screen, observing and listening to create that exceptional complicity we feel in this documentary that eschews didacticism. The emotion of life found its counterpart in the emotion of art - a rare and precious achievement in a genre that is often limited to the emotion of the informational narrative.”

Damian Pettigrew Canadian filmmaker

On documentary influences, Sundance Channel Interview (July 2004)

Life, Smile, Feeling, Courage

“Mysticism is the art of union with Reality. The mystic is a person who has attained that union in greater or less degree; or who aims at and believes in such attainment.”

Evelyn Underhill book Practical Mysticism

Source: Practical Mysticism (1914), Chapter I, What Is Mysticism?, p. 23

Reality, Personality

“It is no coincidence that while some major female artists have married, very few have borne children. The issue is not conservation of energy but imaginative integrity. Art is its own self-swelling, proof that the mind is greater than the body.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 660

Children, Imagination

“The work of art… in seemingly by-passing all difficulties, attains full freedom, thus in fact nourishing the prevailing ideology. It functions as a security valve for the system, an image of freedom in the midst of general alienation and finally as a bourgeois concept supposedly beyond all criticism, natural, above and beyond all ideology.”

Daniel Buren (1938) sculptor from France

Daniel Buren, "Critical Limits," (1970), in: Buren, Five Texts, trans. Laurent Sauerwein (New York: John Weber Gallery, 1973), p. 45
1970s

Nature, Freedom

“For as long as I can remember,' I said, continuing to speak to the figure standing in the archway, 'I have had an intense and highly aesthetic perception of what I call the icy bleakness of things. At the same time I have felt a great loneliness in this perception. This conjunction of feelings seems paradoxical, since such a perception, such a view of things, would seem to preclude the emotion of loneliness, or any sense of a killing sadness, as I think of it. All such heartbreaking sentiment, as usually considered, would seem to be on its knees before artworks such as yours, which so powerfully express what I have called the icy bleakness of things, submerging or devastating all sentiment in an atmosphere potent with desolate truths, permeated throughout with a visionary stagnation and lifelessness. Yet I must observe that the effect, as I now consider it, has been just the opposite. If it was your intent to evoke the icy bleakness of things with your dream monologues, then you have totally failed on both an artistic and an extra-artistic level. You have failed your art, you have failed yourself, and you have also failed me. If your artworks had really evoked the bleakness of things, then I would not have felt this need to know who you are, this killing sadness that there was actually someone who experienced the same sensations and mental states that I did and who could share them with me in the form of tape-recorded dream monologues. Who are you that I should feel this need to go to work hours before the sun comes up, that I should feel this was something I had to do and that you were someone that I had to know? This behavior violates every principle by which I have lived for as long as I can remember. Who are you to cause me to violate these long-lived principles?”

Thomas Ligotti (1953) American horror author

The Bungalow House

Truth, Sadness, Dreams, Behavior

“A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.... [but] it is an incomplete art which privileges the intellect to the detriment of the senses... [art must be like.. ] fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
1930s

Sense, Painting

“Stop trying to impress some art-school teacher with a stick up his butt whose opinions you never respected from the time you entered his class until you left it 10 years ago. Draw like you.”

Dave Sim (1956) Canadian cartoonist, creator of Cerebus

Source: Cerebus Guide to Self-Publishing (1997), p. 27

School, Teachers, Time, Drawing

“Surrealism is only trying to rejoin the most durable traditions of mankind. Among the primitive peoples art always goes beyond what is conventionally and arbitrarily called the 'real'. The natives of the Northwest Pacific coast, the Pueblos, New Guinea, New Ireland, the Marquesas, among others, have made 'objets' [in the Collections of Max Ernst, C. Levy-Strauss, Andre Breton, Pierre Matisse, Carlbach, Segredakis] which Surrealists particularly appreciate.”

André Breton (1896–1966) French writer

Quote of 1942, in the introduction of the Catalog 'First papers of surrealism: hanging by André Breton, his twine Marcel Duchamp'; exhibition at the Coordinating Council of French Relief Societies, Inc., New York, Oct. 14-Nov. 7, 1942
after 1930

People

“The youth of an art is, like the youth of anything else, its most interesting period. When it has come to the knowledge of good and evil it is stronger, but we care less about it.”

Samuel Butler (1835–1902) novelist

Early Art
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting

Youth, Knowledge, Evil

“The Engl[ish], French and German Jews were all in cahoots with one another. Their sole aim was to establish the Jewish domination of the world. Therefore they first had to enslave the German people completely. The Engl[ish] Prime Minister [David Lloyd George] was completely in the hands of the Jews…When a new era dawned once more in Germany the Jews would meet their fate in no uncertain terms. They had syphoned off some 80 billions out of the country. They would have to repay all of this, the government must start by demanding 15 billions immediately. They would have to forfeit everything, their art collections, their houses, all their property. They would have to be removed once and for all from all their public offices, they must be thrown completely to the ground.”

Wilhelm II, German Emperor (1859–1941) German Emperor and King of Prussia

Remarks to his doctor, Dr Haehner (8 March 1921), quoted in John C. G. Röhl, Wilhelm II: Into the Abyss of War and Exile 1900-1941 (Cambridge: Cambridge University Press, 2014), pp. 1234-1235
1920s

Fate, People, World, Housing

Quotes about art page 40

Quotes about art
page 40