Quotes about art (5831 quotes, page 41)

“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

Jacob Maris (1837–1899) Dutch painter

Bijna alle nieuwe Fransche kunst [Impressionisme] heeft voor mij een plat, leeg karakter zonder afstand en diepte in kleur. De schilderijen lijken witte velletjes papier met kleurtjes erop.
Quote of Jacob Maris, in: 'Veerpont - Jacob Maris', Frank van der Velden https://www.rembrandtcirkel.nl/ul/cms/attachment/file/document/6/0/7/607/607/1/veerpont.pdf; Vereniging Rembrandt, Spring 2005, p. 24
he lived for several years in Paris, till 1871

Color , Painting

“Life is experienced holistically with sensations pouring in through every physical and mental organ of perception. Art exists embodied in physical elements—especially meticulously calibrated aspects of sight and sound—which scholarly explication can illuminate but never fully replace. However conceptually incoherent and subjectively emotional, the amateur response to poetry comes closer to the larger human purposes of the art—which is to awaken, amplify, and refine the sense of being alive—than does critical commentary”

Dana Gioia (1950) American writer

19
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

Life , Sense

“Then Arts began; fierce toyl through all things breaks,
And urgent Want strange Projects undertakes.”

John Ogilby (1600–1676) Scottish academic

The Works of Publius Virgilius Maro (2nd ed. 1654), Virgil's Georgicks

““I thought they were very good at what they did.”
”Of course they were good!” Brill glanced sharply. “The issue is what one chooses to be good at. The arts are fine, for hobbies. I play six instruments, myself. But they pose no great challenge to a mature mind.””

David Brin book Glory Season

Source: Glory Season (1993), Chapter 27 (p. 545)

“In place of a hermeneutics we need an erotics of art.”

Susan Sontag book Against Interpretation

"Against Interpretation" (1964), p. 14
Against Interpretation and Other Essays (1966)

“It's [the art-magazine 'Circle'] been reprinted and it's now referred to as classic. Well it is. But w:Ben Nicholson, Sir Leslie Martin, Gabo and Leslie Martin's wife, Sadie Speaight, and I did that. We were sitting round the fire and we said, 'Why shouldn't we do a book?”

Barbara Hepworth (1903–1975) English sculptor

And so we started and now it's a classic and referred to as such.
Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 17

Books

“Eleanor Roosevelt, fine, precise, hand-worked like ivory. Her voice was almost attractive … One had the impression of a lady who was finally becoming a woman, which is to say that she was just a little bitchy about it all; nice bitchy, charming, it had a touch of art to it, but it made one wonder if she were not now satisfying the last passion of them all, which was to become physically attractive, for she was better-looking than she had ever been.”

Norman Mailer (1923–2007) American novelist, journalist, essayist, playwright, film maker, actor and political candidate

Superman Comes to the Supermarket (1960)

Passion

“The power of the average pop artist and her products lies in the pornography that is her 'art,' in her hackneyed political posturing, and in the fantastic technology that is Auto-Tune (without which all the sound you'd hear these 'singers' emit would be a bedroom whisper).”

Ilana Mercer South African writer

" Harvey Sweinstein And Hollywood's Hos http://dailycaller.com/2017/10/20/harvey-sweinstein-and-hollywoods-hos/," The Daily Caller, October 20, 2017.
2010s, 2017

“It is dreadful to think of Paris in German hands but what preoccupies me still more is what is going to happen to modern French art and the younger artists.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

In June 1938 Amrita and her husband fled from Fascist dominated Hungary.
Sikh Heritage,Amrita Shergil

Thinking

“In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:
Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Ché la diritta via era smarrita.
In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.
One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.”

William Styron book Darkness Visible

Source: Darkness Visible (1990), X

Life , Death , Women , Men

“Doing a life study while drunk and in the process of being seduced is never a formula for quality art.”

Dan Simmons book The Fall of Hyperion

Source: The Fall of Hyperion (1990), Chapter 6 (p. 43)

Life , Study

“Daughter of heaven, fair art thou! the silence of thy face is pleasant! Thou comest forth in loveliness. The stars attend thy blue course in the east. The clouds rejoice in thy presence, O moon! They brighten their dark-brown sides. Who is like thee in heaven, light of the silent night? The stars are ashamed in thy presence. They turn away their sparkling eyes. Whither dost thou retire from thy course, when the darkness of thy countenance grows? Hast thou thy hall, like Ossian? Dwellest thou in the shadow of grief? Have thy sisters fallen from heaven? Are they who rejoiced with thee, at night, no more? Yes! they have fallen, fair light! and thou dost often retire to mourn. But thou thyself shalt fail, one night; and leave thy blue path in heaven. The stars will then lift their heads: they, who were ashamed in thy presence, will rejoice. Thou art now clothed with thy brightness. Look from thy gates in the sky. Burst the cloud, O wind! that the daughter of night may look forth! that the shaggy mountains may brighten, and the ocean roll its white waves in light.”

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

"Dar-thula"
The Poems of Ossian

Mountain , Star , Sister , Light

“Where art thou, beam of light? Hunters, from the mossy rock, saw ye the blue-eyed fair?”

James Macpherson Temora

Temora, Book VI, p. 353
The Poems of Ossian

Light

“One can become overwhelmed on vacation—I have become so—by thinking thoughts that are too large. There is a condition identified in psychology textbooks as the Stendhal syndrome, also called, or related to, the Jerusalem syndrome, that describes a tourist’s overwhelmed response to great works of art or to a sudden apprehension of scale, antiquity, multitude, death—the accompanying fear is of one’s insignificance, but also of squandered opportunity.”

Richard Rodríguez (1944) American journalist and essayist

Darling: A Spiritual Autobiography (2013)

Death , Fear , Thinking

“The 1960s weren’t the 1920s again; they were the Liberal Arts expressed in the negative. The 1970s, despite the hedonism, weren’t the 1920s; they were the Negative out to get all the rewards formerly held by the Positive. The Goat and Adding Machine Ritual is now.”

George W. S. Trow (1943–2006) American writer

Collapsing Dominant (1997)

“I admit I know little of Orient art. But that is because I cannot find in it what I am looking for, or what I am talking about. To me the Oriental idea of beauty is that 'it isn’t there'. It is in a state of nor being there. It is absent. That is why it is so good. It is the same thing I don't like in Suprematism, Purism and non-objectivity… I do like the idea that they - the 'pots and pans' [pictured in the classic still life paintings], I mean – are always in relation to man. They have no soul of their own, like they seem to have in the Orient..”

Willem de Kooning (1904–1997) Dutch painter

Quote from De Kooning's lecture Trans/formation, at Studio 35, 1950.
1950's

Life , Beauty , Soul , Idea

“Among the various subjects of the inquiry, however, which, inconsequence of the vague use of language, are comprehended under the general title of metaphysics, there are some, which are essentially distinguished from the rest, both by the degree of evidence which accompanies their principles, and by the relation which they bear to the useful sciences and arts: and it has unfortunately happened, that these have shared in that general discredit, into which the other branches of metaphysics have fallen. To this circumstance is probably to be ascribed, the little progress which has hitherto been made in the PHILOSOPHY OF THE HUMAN MIND; a science, so interesting in its nature, and so important in its applications, that it could scarcely have failed, in these inquisitive and enlightened times, to have excited a very general attention, if it had not accidentally been classed, in the public opinion with the vain and unprofitable disquisitions of the schoolmen.”

Dugald Stewart (1753–1828) Scottish philosopher and mathematician

Source: Elements of the Philosophy of the Human Mind, 1792, p. 9; Lead paragraph (II)

Nature , Science , Time

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (1993)

Departure , Drawing , Painting

“Britain is a special country. We have so many great advantages: a Parliamentary democracy where we resolve great issues about our future through peaceful debate; a great trading nation, with our science and arts, our engineering and our creativity, respected the world over. And while we are not perfect, I do believe we can be a model for the multi-racial, multi-faith democracy, where people can come and make a contribution and rise to the very highest that their talent allows.”

David Cameron (1966) Former Prime Minister of the United Kingdom

Speech delivered outside outside 10 Downing Street, announcing that he would resign as prime minister after British voters chose to leave the European Union in a referendum (June 24, 2016), see David Cameron's resignation speech in full http://www.cnn.com/2016/06/24/europe/david-cameron-full-resignation-speech/ (published by CNN)
2010s, 2016

People , World , Peace , Faith

“The art of measuring, as precisely as possible, probabilities of things, with the goal that we would be able always to choose or follow in our judgments and actions that course, which will have been determined to be better, more satisfactory, safer or more advantageous.”

Jacob Bernoulli book Ars Conjectandi

Ars Conjectandi (1713) Chapter II, Part IV, defining the art of conjecture.

“As long as art cannot get free from the object, it will continue to be a description.”

Robert Delaunay (1885–1941) French painter

In On light; as quoted in: Susanna Partsch, ‎Paul Klee (2003) Klee. p. 20
1915 - 1941

“He Kandinsky had always expressed a great interest in abstraction when we visited Tunisia together in 1904. The Moslem interdiction of representational painting seemed to stir his imagination and that was when I first heard him say that objects disturbed him. Between 1907 and 1910 [the period in which Kandinsky painted his first abstract compositions], he began to rely increasingly on his own theories of art, which many of his friends could understand only with great difficulty.”

Gabriele Münter (1877–1962) German painter

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

Imagination , Understanding , Painting

“It takes intelligence and training, self-discipline and fine-sensibility, to gain renewed life through leisure occupation. America now suffers spiritual poverty, and art must become more fully American life before her leisure can become culture.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 56
Search for the Real and Other Essays (1948)

Life , Intelligence , Suffering , Training

“The study of nature is of no significance, for painting is a conventional art, and it is infinitely more worthwhile to learn to draw after w:Holbein.”

Edgar Degas (1834–1917) French artist

Quote from History of Impressionism, Rev. ed. John Rewald, Museum of Modern Art, 1961, p. 89
posthumous quotes, Degas Dance Drawing' (1935)

Nature , Study , Learning , Drawing

“It is true that for us art is not an end in itself, we have lost too many of our illusions for that. Art is for us an occasion for social criticism, and for real understanding of the age we live in... Dada was not a school of artists, but an alarm signal against declining values, routine and speculations, a desperate appeal, on behalf of all forms of art, for a creative basis on which to build a new and universal consciousness of art.”

Hugo Ball (1886–1927) German author, poet and one of the leading Dada artists

quoted by Richard Kostelanetz and Joseph Darby (eds.) in Classic Essays on Twentieth-Century Music; Schirmer, New York, 1996 ISBN 0028645812
after 1916

Age , School , Understanding , Universe

“The fine art of executive decision consists in not deciding questions that are not now pertinent, in not deciding prematurely, in not making decision that cannot be made effective, and in not making decisions that others should make. Not to decide questions that are not pertinent at the time is uncommon good sense, though to raise them may be uncommon perspicacity. Not to decide questions prematurely is to refuse commitment of attitude or the development of prejudice. Not to make decisions that cannot be made effective is to refrain from destroying authority. Not to make decisions that others should make is to preserve morale, to develop competence, to fix responsibility, and to preserve authority.
From this it may be seen that decisions fall into two major classes, positive decisions - to do something, to direct action, to cease action, to prevent action; and negative decisions, which are decisions not to decide. Both are inescapable; but the negative decisions are often largely unconscious, relatively nonlogical, "instinctive," "good sense."”

Chester Barnard book The Functions of the Executive

It is because of the rejections that the selection is good.
Source: The Functions of the Executive (1938), p.194, as cited in in Albert Lepawsky (1949), Administration, p. 626

Question , Decision , Sense , Time

“Many a woman shudders … at the terrible eclipse of those intellectual powers which in early life seemed prophetic of usefulness and happiness, hence the army of martyrs among our married and unmarried women who, not having cultivated a taste for science, art or literature, form a corps of nervous patients who make fortunes for agreeable physicians.”

Sarah Grimké (1792–1873) American abolitionist

Written in 1852, as quoted in ch. 87.
The Female Experience (1977)

Life , Women , Literature , Science

“Each of the Arts whose office is to refine, purify, adorn, embellish and grace life is under the patronage of a Muse, no god being found worthy to preside over them.”

Eliza Farnham (1815–1864) American novelist, feminist, abolitionist, and activist for prison reform

Woman and Her Era (1864), pt. 2, ch. 1

Life , God

“Mostly the adult Indians did not wish their children to learn these arts from the emissaries of what they astonishingly considered an alien, false and hostile God.”

Sinclair Lewis (1885–1951) American novelist, short-story writer, and playwright

The God-Seeker (1949), Ch. 21

God , Hostility , Children , Learning

“I sat, just watching the moon creep up, and hearing the thin, dry rustle of the leaves along the holly hedge. And there came to me this thought: What is this Universe — that never had beginning and will never have an end — but a myriad striving to perfect pictures never the same, so blending and fading one into another, that all form one great perfected picture? And what are we — ripples on the tides of a birthless, deathless, equipoised Creative-Purpose — but little works of Art?”

John Galsworthy (1867–1933) English novelist and playwright

Vague Thoughts On Art (1911)

Universe , Perfection

“When the Morgan and Rockefeller interests harmonized to consummate the great wrong, they well understood that they could not achieve their purpose against a hostile press. Hence they "took over" the newspapers.
This does not necessarily mean the ownership of all newspapers. The perfection of the modern combination is little less than a Fine Art. Here again control is better than outright ownership. And control can be achieved through that community of interests, that interdependence of investment and credits which ties the publisher up to the banks, the advertisers, and special interests.”

Robert M. La Follette Sr. (1855–1925) American politician

"Fooling the People as a Fine Art", La Follette's Magazine (April 1918)

Hostility , Communication , Perfection

“Muhammad bin Tughlaq became notorious for enslaving captives, and his reputation in this regard spread far and wide… Ibn Battuta’s eye-witness account of the Sultan’s arranging marriages of enslaved girls with Muslims on a large scale on the two Ids confirms the statement of Al Umri. “First of all,” writes he, “daughters of Kafir (Hindu) Rajas captured during the course of the year, come, sing and dance. Thereafter they are bestowed upon Amirs and important foreigners. After this the daughters of other Kafirs dance and sing… the Sultan gives them to his brothers, relatives sons of Maliks etc. On the sixth day male and female slaves are married.” It was a general practice for Hindu girls of good families to learn the art of dancing. It was a sort of religious rite. They used to dance during weddings, festivals and Pujas at home and in temples. This art was turned ravenous under their Muslim captors or buyers.”

Muhammad bin Tughluq (1290–1351) Turkic Sultan of Delhi

Masalik-ul-Absar, E and D, III, p. 580. Ibn Battuta, p. 63, Hindi version by S.A.A. Rizvi in Tughlaq Kalin Bharat, Part I, Aligarh, p. 189. quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7

Marriage , Family , Home , Girl

“When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.”

Henry Moore (1898–1986) English artist

1970 and later
Source: 'The Sunday Times', 25 May 1975; as quoted in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 121

Feeling

“The great difficulty and crowning glory of art is to paint, to draw, to write, naturally and simply.”

Auguste Rodin (1840–1917) French sculptor

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

Nature , Drawing , Painting

“As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.... the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 14

Idea , Thinking , Time , Personality

“Though acts of reception and of understanding are in some measure fictions of ordered intuition, myths of reason, this truth does not justify the denial of intentional conduct. It is as absurd to discard as mendacious, as anarchically opaque, the bearing of contextual probability and suggestion, as it is to invest in such probability any blind trust. The negations of post-structuralism and of certain varieties of deconstruction are precisely as dogmatic, as political as were the positivist equations of archival historicism. The "emptiness of meaning" postulate is no less a priori, no less a case of despotic reductionism than were, say, the axioms of economic and psycho-sociological causality in regard to the generation of meaning in literature and the arts in turn-of-the-century pragmatism and scientism.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), III: Presences, Ch. 3 (pp. 174-175).

Truth , Literature , Understanding

“The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual.”

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

Source: Art on the Edge, (1975), pp. 64-65, "Olitski, Kelly, Hamilton: Dogma and Talent"

History

“My only source of instruction has always been the study of works, whether of the past or contemporary artists, which can offer us an answer to our questions if we formulate these properly... I would never be of much use as a guide or instructor, nor have I ever wanted to be one, even when I have been asked to undertake the job [still, Morandi was art professor - etchings - at the Art Academy of Bologna for many years].”

Giorgio Morandi (1890–1964) Italian painter

the text of this interview was later examined by Morandi and approved in the English translation
interview with Edouard Roditi, in 'Dialogues in Art', 1960; as quoted in Morandi 1894 – 1964, published by Museo d'Arte Moderna di Bologna, ed: M. C. Bandera & R. Miracco - 2008; p. 250
1945 - 1964

Question , Study , Past

“What strip-mining is to nature, the art market has become to culture.”

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

"Introduction: The Decline of the City of Mahagonny"
Nothing If Not Critical (1991)

Nature

“When art separates this thick tangle of feelings, love bares its bones.”

Diane Ackerman (1948) Author, poet, naturalist

A Natural History of Love (1994)

Love , Feeling

“Thou art the whisper in the gloom,
The hinting tone, the haunting laugh:
Thou art the adorner of my tomb,
The minstrel of mine epitaph.”

Lionel Johnson (1867–1902) English poet

The Dark Angel (1895)

“The product of movement and counter-movement is tension. When tension — working strength — is expressed, it endows the work of art with the living effect of coordinated, though opposing, forces.”

Hans Hofmann (1880–1966) American artist

"Excerpts from the Teaching of Hans Hofmann", p. 66
Search for the Real and Other Essays (1948)

“Probability is a liberal art; it is a child of skepticism, not a tool for people with calculators on their belts to satisfy their desire to produce fancy calculations and certainties.”

Nassim Nicholas Taleb (1960) Lebanese-American essayist, scholar, statistician, former trader and risk analyst

Source: The Black Swan: The Impact of the Highly Improbable (2007), p. 128

People

“Just as towers and crenellations indicated a building’s status, so the crenellated wall signified a castle in the visual arts and in that distinctive medieval sign language known as heraldry. The heraldic symbol of the kingdom of Castile, for example, consisted of a wall and three crenellated towers. This simple composition was easily recognized and reproduced.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 4 : The Castle as Symbol and Palace

“Colour came into its own with papiers collés.... with these works we [Braque, and a little later Picasso, started to make 'collage art', circa 1912] succeeded in dissociating colour from form, in putting it on a footing independent of form, for that was the crux of the matter. Colour acts simultaneously with form, but has nothing to do with form.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 75

“They might try to remind me
That Such Tragedy surrounds me
But this suffering created art
I never found it scary… I was all undercover”

Ysabella Brave (1979) American singer

"Undercover" (11 September 2008) http://www.youtube.com/watch?v=x8WiZZikJNk

Suffering

“Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Way

“It is curious to observe what different ideals of happiness people cherish, and in what singular places they look for this well-spring of their life. Many look for it in the hoarding of riches, some in the pride of power, and others in the achievements of art and literature; a few seek it in the exploration of their own minds, or in search for knowledge.”

Helen Keller book Optimism

Optimism (1903)

Life , People , Search , Spring

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

God , Feeling , Soul , Understanding

“I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass. “The architectural simplicity” – whether of a platonic idea or greek temple – I far prefer to no idea at all, or no temple at all, or, for instance, to most of the complicated and too tropical structures of India. Nothing could ever convince my EYE – even if my intelligence were otherwise overcome – that anything that did not possess this simplicity, conceptual quality, hard exact outline, grand architectural proportion, was the greatest art. Bergson is indeed the arch enemy of every impulse having its seat in the apparatus of vision, and requiring a concrete world. Bergson is the enemy of the Eye, from the start; though he might arrive at some emotional compromise with the Ear. But I can hardly imagine any way in which he is not against every form of intelligent life. (p. 338)”

Wyndham Lewis (1882–1957) writer and painter

"The Great God Flux".
The Art of Being Ruled (1926)

Life , World , Way , Imagination

“To say that the activity of science and art helps humanity's progress, if by that activity we mean the activity which now calls itself by those names, is as though one said that the clumsy, obstructive splashing of oars in a boat moving down stream assists the boat's progress. It only hinders it… The proof of this is seen in the confession made by men of science that the achievements of the arts and sciences are inaccessible to the labouring masses on account of the unequal distribution of wealth.”

Leo Tolstoy (1828–1910) Russian writer

What then must we do? (1886)

Men , Science , Help , Wealth

“Color will play no part in the art of future.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 20

Color , Future , Parting

“He knows all about art, but he doesn't know what he likes.”

James Thurber A Thurber Carnival

Cartoon caption, The New Yorker (4 November 1939). Parody of "I don't know much about art, but I know what I like."
"Word Dance — Part One", A Thurber Carnival (1960)
Cartoon captions
Variant: He knew all about art, but he didn't know what you like.

“A work of art is a work of art, and nothing else, personal considerations count for nothing.”

Roger Fry (1866–1934) English artist and art critic

E M Forster -0bituary of Roger Fry ,1940 ,'Biography of RogerFry'by Virginia Wolf , Harcourt, Brace and Co, New York 1940.
Art Quotes

Personality

“For me the purest and truest art in the world is science fiction.”

C. J. Cherryh book Visible Light

The Collected Short Fiction of C. J. Cherryh (2004) – from the introduction to "Visible Light"

World , Science

“It takes a great deal of strong personality to survive the art school training. Hard nuts that the art schools can't crack and devour get through and become artists.”

John Sloan (1871–1951) American painter

Ibid., p. 8.
The Gist of Art (1939)

School , Strong , Personality , Training

“God wants us to worship Him. He doesn't need us, for He couldn't be a self-sufficient God and need anything or anybody, but He wants us. When Adam sinned it was not he who cried, 'God, where art Thou?' It was God who cried, 'Adam, where art thou?”

Aiden Wilson Tozer (1897–1963) American missionary

Worship: The Missing Jewel as quoted in Vernon K. McLellan (2000), Twentieth century thoughts that shaped the church p. 265.

God

“Mahmood having reached Tahnesur before the Hindoos had time to take measures for its defence, the city was plundered, the idols broken, and the idol Jugsom was sent to Ghizny to be trodden under foot…Mahmood having refreshed his troops, and understanding that at some distance stood the rich city of Mutra [Mathura], consecrated to Krishn-Vasdew, whom the Hindoos venerate as an emanation of God, directed his march thither and entering it with little opposition from the troops of the Raja of Delhy, to whom it belonged, gave it up to plunder. He broke down or burned all the idols, and amassed a vast quantity of gold and silver, of which the idols were mostly composed. He would have destroyed the temples also, but he found the labour would have been excessive; while some say that he was averted from his purpose by their admirable beauty. He certainly extravagantly extolled the magnificence of the buildings and city in a letter to the governor of Ghizny, in which the following passage occurs: "There are here a thousand edifices as firm as the faith of the faithful; most of them of marble, besides innumerable temples; nor is it likely that this city has attained its present condition but at the expense of many millions of deenars, nor could such another be constructed under a period of two centuries."…The King tarried in Mutra 20 days; in which time the city suffered greatly from fire, beside the damage it sustained by being pillaged. At length he continued his march along the course of a stream on whose banks were seven strong fortifications, all of which fell in succession: there were also discovered some very ancient temples, which, according to the Hindoos, had existed for 4000 years. Having sacked these temples and forts, the troops were led against the fort of Munj…The King, on his return, ordered a magnificent mosque to be built of marble and granite, of such beauty as struck every beholder with astonishment, and furnished it with rich carpets, and with candelabras and other ornaments of silver and gold. This mosque was universally known by the name of the Celestial Bride. In its neighbourhood the King founded an university, supplied with a vast collection of curious books in various languages. It contained also a museum of natural curiosities. For the maintenance of this establishment he appropriated a large sum of money, besides a sufficient fund for the maintenance of the students, and proper persons to instruct youth in the arts and sciences…The King, in the year AH 410 (AD 1019), caused an account of his exploits to be written and sent to the Caliph, who ordered it to be read to the people of Bagdad, making a great festival upon the occasion, expressive of his joy at the propagation of the faith.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

Tarikh-i-Firishta, translated by John Briggs under the title History of the Rise of the Mahomedan Power in India, first published in 1829, New Delhi Reprint 1981, Vol. I, pp. 27-37.
Quotes from Muslim medieval histories

Money , God , People , Books

“He [Renoir] is a subtle and brilliant draughtsman.... all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form.”

Berthe Morisot (1841–1895) painter from France

note in Berthe's Journal, c. 11 Jan. 1886, after visiting Renoir in his studio; in 'Carnet Beige', Morisot Enchantment, Huisman; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1881 - 1895

Imagination , Thinking , Study , Drawing

“We are still very much annoyed by out-of-date notions of time. Please, would you throw away your watches! At least toss aside the minutes and hours. Obviously we all realize that we are not everlasting. Our fear of death has inspired the creation of beautiful works of art. And this was a fine thing, too. However, our only eternal possession will be change.”

Jean Tinguely (1925–1991) Swiss painter and sculptor

reprinted in 'Zero', ed. Otto Piene and Heinz Mack, Cambridge, Mass; MIT Press 1973, p. 120
Quotes, 1960's, untitled statements in 'Zero 3', (1961)

Death , Fear , Beauty , Change

“How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.”

Rod Serling (1924–1975) American screenwriter

Rod Serling: Submitted for Your Approval (October 1997), American Masters (PBS: Thirteen/WNET).
Other

Men , Dance , Training , Clothes

“"I consider this Negro [Benjamin Banneker] as fresh proof that the powers of the mind are disconnected with the colour of the skin or in other words, a striking contradiction to Mr. Hume's doctrine that "the Negroes are naturally inferior to the whites and unsusceptible of attainments in arts and sciences.""”

James McHenry

https://archive.org/details/ERIC_ED069838
http://scholarworks.umass.edu/cgi/viewcontent.cgi?article=1215&context=theses
https://books.google.com/books?id=ny-UAgAAQBAJ&pg=PA116

Nature , Science

“In Hilary Term 1636, 7. I took the Degree of Batchelor of Arts; and in 1640, the Degree of Master of Arts, and then left Emanuel College; and the same year I entered into Holy Orders, ordained by Bishop Curle, then Bishop of Winchester. I then lived a Chaplain for about a year, in the house of Sr. Richard Darley, (an antient worthy Knight,) at Buttercramb in Yorkshire, and then, for two years more, with the Lady Vere, (the Widdow of the Lord Horatio Vere,) partly in London, and partly at Castlc-Hedingham in Essex, the antient seat of the Earls of Oxford.”

John Wallis (1616–1703) English mathematician

Dr. Wallis's Account of some Passages of his own Life (1696)

Housing

“In simple terms: art has not been a public nuisance for quite a while now. either the people have become well-behaved or the perpetrators of nuisances have become tired.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (2003)

People

“The heavenly bodies are nothing but a continuous song for several voices (perceived by the intellect, not by the ear); a music which… sets landmarks in the immeasurable flow of time. It is therefore, no longer surprising that man, in imitation of his creator, has at last discovered the art of figured song, which was unknown to the ancients. Man wanted to reproduce the continuity of cosmic time… to obtain a sample test of the delight of the Divine Creator in His works, and to partake of his joy by making music in the imitation of God.”

Johannes Kepler book Harmonices Mundi

Book V, Ch. 7 as quoted in Arthur Koestler, The Sleepwalkers (1959)
Harmonices Mundi (1618)

God , Music , Time , Joy

“Decidedly, we are at cross-purposes. What's all this you tell [from England] about the modern movement, commercialism, etc, etc? It bears no relation to our concept of art, at any rate here... That is where the error lies. Trade serves those up to us as readily as anything else; so it is no use. Wouldn't it be better to steep ourselves in genuine nature again? I do not consider in the least that we are making a mistake, that we should turn to the steam-engine and follow the general public [ William Morris, the more traditional artist became very popular those days]... No, a thousand times no! We are here to point the way.... the remedy is to be found in nature, more than ever. Let us follow what we consider to be the proper aim, we shall see who is right. After all, money is a fragile thing; let us earn some of it, since we must, but let us keep to our role.”

Camille Pissarro (1830–1903) French painter

In a letter to his son Lucien, 26 April 1900, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 148
after 1900

Money , Way , Error , Nature

“Legenda Aurea. To think that there's no Catholic edition of this most Catholic book!… Richard Benz sees it as epic and myth of the Middle Ages, exact parallel to the Gothic cathedrals. Sunk into oblivion with the epoch, rediscovered through the history of art, in the countless painters inspired by the Legend. Wonderful, costly and beautiful - but belonging utterly to the past, monument, museum: venerable, interesting, imposing - tout à fait passé.”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Diaries 1957-59

Books , Age , Beauty , History

“Without passion there is no art, only technique.”

Mary Robinette Kowal (1969) American writer and puppeteer

Source: Shades of Milk and Honey (2010), Chapter 15 (p. 192)

Passion

“Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

Life , Way

“Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.”

Wassily Kandinsky (1866–1944) Russian painter

I. Kandinsky's introduction: Lead paragraph
1910 - 1915, Concerning the Spiritual in Art, 1911

Books , Age , Way , Feeling

“We’re making tin gods out of those poor buffoons in Hollywood; I dote on movies and appreciate the scanty art therein but I consider the profession about the most debased and debasing I know.”

Robert E. Howard (1906–1936) American author

From a letter to Tevis Clyde Smith (week of February 20, 1928)
Letters

God

“All art is a form of artifice. For in art there can be no prejudices.”

Arthur Symons (1865–1945) British poet

Preface to Silhouettes kindle ebook 2012 ASIN B0082UH208.

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules
Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf
Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890
From Delacroix to Neo-Impressionism, 1899

Light , Reading

“One of the things near and dear to me is art therapy. Even as an art teacher and someone very involved in the arts, I never knew what art therapy even was. These men and women go to graduate school and they actually are therapists that use art, especially at Riley, they’re making such a difference, so I’m looking forward to that.”

Karen Pence (1958) First Lady of Indiana, schoolteacher

Karen Pence focuses on moving family forward amid hoopla http://www.indystar.com/story/news/politics/2017/01/20/karen-pence-focuses-moving-family-forward-amid-hoopla/96828962/ (January 20, 2017)

Women , Men , School , Teachers

“The main difficulty in using either lazo or bolas, is to ride so well, as to be able at full speed, and while suddenly turning about, to whirl them so steadily round the head, as to take aim: on foot any person would soon learn the art. One day, as I was amusing myself by galloping and whirling the balls round my head, by accident the free one struck a bush; and its revolving motion being thus destroyed, it immediately fell to the ground, and like magic caught one hind leg of my horse; the other ball was then jerked out of my hand, and the horse fairly secured. Luckily he was an old practised animal, and knew what it meant; otherwise he would probably have kicked till he had thrown himself down. The Gauchos roared with laughter; they cried they had seen every sort of animal caught, but had never before seen a man caught by himself.”

Charles Darwin book The Voyage of the Beagle

Source: The Voyage of the Beagle (1839), chapter III: "Montevideo — Maldonado, etc.", page 51 http://darwin-online.org.uk/content/frameset?pageseq=70&itemID=F11&viewtype=image

Jerk , Laughter , Learning , Animals