Quotes about art
page 42

“If, however, thou art sailing upon the sea of creation, know thou that the First Remembrance, which is the Primal Will of God, may be likened unto the sun. God hath created Him through the potency of His might, and He hath, from the beginning that hath no beginning, caused Him to be manifested in every Dispensation through the compelling power of His behest, and God will, to the end that knoweth no end, continue to manifest Him according to the good-pleasure of His invincible Purpose.”

Báb (1819–1850) Iranian prophet; founder of the religion Bábism; venerated in the Bahá'í Faith

Dalá’Il-I-Sab‘ih

God, Pleasure, Sun, Sea

“Jewish Encyclopedia, art. Judah ben Samuel he-Hasid of Regensburg, vol. VII pp356-8”

Yehuda he-Hasid (1140–1217) German philosopher

References

“The United States would seek more than the mere reduction or elimination of atomic materials for military purposes. It is not enough to take this weapon out of the hands of the soldiers. It must be put into the hands of those who will know how to strip its military casing and adapt it to the arts of peace.”

Dwight D. Eisenhower (1890–1969) American general and politician, 34th president of the United States (in office from 1953 to 1961)

1950s, Atoms for Peace (1953)

Peace

“Finally, in the dim region where art, magic, and religion meet and overlap, human beings have evolved the “metaphor that is meant,” the flag which men will die to save, and the sacrament that is felt to be more than “an outward and visible sign, given unto us.” Here we can recognize an attempt to deny the difference between map and territory, and to get back to the absolute innocence of communication by means of pure mood-signs.”

Gregory Bateson book Steps to an Ecology of Mind

From Part 4, section 2: A Theory of Play and Fantasy
Steps to an Ecology of Mind (1972)

Men, Religion, Communication, Mood

“Mani Madhava Cakyar with his unfailing urge for complicated, difficult and minute details has enriched the art during the decades of his unparalleled performing life without permitting even an iota of compromise regarding the essentials of traditional style. He has served his Kuladharma ever since his maiden appearance with tireless effort, enthusiasm, perseverance and vigor. He introduced new forms to improve this art form without impairing its tradition. The effectiveness of these innovations which only a genius could visualise and perform has already been proved several times”

Mani Madhava Chakyar (1899–1990) Indian actor

"The Hindu (1989)
Abhinaya and Netrābhinaya
Source: K. A. Chandrahasan, In pursuit of excellence (Performing Arts), "The Hindu", Sunday March 26, 1989

Life, Effort, Appearance, Time

“On the Indian front, [the Hindutva movement] should spearhead the revival, rejuvenation and resurgence of Hinduism, which includes not only religious, spiritual and cultural practices springing from Vedic or Sanskritic sources, but from all other Indian sources independently of these: the practices of the Andaman islanders and the (pre-Christian) Nagas are as Hindu in the territorial sense, and Sanâtana in the spiritual sense, as classical Sanskritic Hinduism. (…) A true Hindutvavadi should feel a pang of pain, and a desire to take positive action, not only when he hears that the percentage of Hindus in the Indian population is falling due to a coordination of various factors, or that Hindus are being discriminated against in almost every respect, but also when he hears that the Andamanese races and languages are becoming extinct; that vast tracts of forests, millions of years old, are being wiped out forever; that ancient and mediaeval Hindu architectural monuments are being vandalised, looted or fatally neglected; that priceless ancient documents are being destroyed or left to rot and decay; that innumerable forms of arts and handicrafts, architectural styles, plant and animal species, musical forms and musical instruments, etc. are becoming extinct; that our sacred rivers and environment are being irreversibly polluted and destroyed…”

Shrikant Talageri (1958) Indian author

Talageri in S.R. Goel (ed.): Time for Stock-Taking, p.227-228.

Pain, Music, Feeling, Spring

“Ruskin says that anyone who expects perfection from a work of art knows nothing of works of art. This is an appealing sentence that, so far as I can see, is not true about a few pictures and statues and pieces of music, short stories and short poems. Whether or not you expect perfection from them, you get it; at least, there is nothing in them that you would want changed. But what Ruskin says is true about novels: anyone who expects perfection from even the greatest novel knows nothing of novels.”

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

“An Unread Book”, p. 47
The Third Book of Criticism (1969)

Music, Change, Perfection

“Let those flatter, who fear: it is not an American art.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Summary View of the Rights of British America (1774)
1770s

Fear

“And when his hours are numbered, and the world
Is all his own, retiring, as he were not,
Leaves, when the sun appears, astonished Art
To mimic in slow structures, stone by stone
Built in an age, the mad wind's night-work,
The frolic architecture of the snow.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

The Snow-Storm
1840s, Poems (1847)

Age, World, Appearance, Sun

“Diogenes the cynic, seeing one of the so-called freedmen pluming himself, while many heartily congratulated him, marveled at the absence of reason and discernment. “A man might as well,” he said, “proclaim that one of his servants became a grammarian, a geometrician, or musician, when he has no idea whatever of the art.” For as the proclamation cannot make them men of knowledge, so neither can it make them free.”

Philo (-15–45 BC) Roman philosopher

157
Every Good Man is Free

Men, Idea, Knowledge

“So long as colonies and immigrant sections exist, with their inferior housing, sanitation, and care, Americanization will fail. It matters not at all that we satisfy our conscience by saying that immigrants prefer to live this way or that they lived this way in their own country. To say this is to forget that the crowded dwelling in Italy through which permeated the beauty and art, the religion, tradition, and association of the old country, is vastly different from the huts across the railroad track filled with strangers to whom the shop and saloon are the centers of gravity.”

Frances Kellor (1873–1952) American sociologist

What is Americanization? (1919)

Religion, Beauty, Way, Housing

“Socialism, or the Red Republic, is all one; for it would tear down the tricolour and set up the red flag. It would make penny pieces out of the Column Vendome. It would knock down the statue of Napoleon and raise up that of Marat in its stead. It would suppress the Académie, the Ecole Polytechnique, and the Legion of Honour. To the grand device Liberty, Equality, and Fraternity, it would add “Ou la mort. It would bring about a general bankruptcy. It would ruin the rich without enriching the poor. It would destroy labour, which gives to each one his bread. It would abolish property and family. It would march about with the heads of the proscribed on pikes, fill the prisons with the suspected, and empty them by massacres. It would convert France into the country of gloom. It would strangle liberty, stifle the arts, silence thought, and deny God. It would bring into action these two fatal machines, one of which never works without the other—the assignat press and the guillotine. In a word, it would do in cold blood what the men of 1793 did in fever, and after the grand horrors which our fathers saw, we should have the horrible in all that was low and small.”

Victor Hugo (1802–1885) French poet, novelist, and dramatist

Statement of May 1848, as quoted in Paris Under the Commune : Or, Seventy-Three Days of the Second Siege (1871) by John Leighton

Men, God, Family, Tear

“For literary purposes, the art of writing poetry can be simply defined as: A creative act using language as a medium refined to an art.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

The Cosmos as a Poem (2010)

“I tend to keep books of art more than anything else now. I'm interested in visual things. And astronomy books. Things you can look at over and over and over again and see something new. … My notions of God and the universe have always been too small. And limited by language. So now I'm looking at picture books. My children say I'm just beginning to enter my dotage: can't read, just looks at picture books.”

Robert Fulghum (1937) American writer

Robert Fulghum : Philosopher King

God, Children, Books, Universe

“Everything depends on our succeeding in making the government firm and keeping it firm; whether it pleases us or not, there is nothing else and whoever can, should help. Who is unable to do so, or cannot bring himself to do it, should at least not disturb. But that is done by stupid newspaper articles which publicize the many weaknesses and ridiculous traits of the republic. That is also done by resolutions and speeches against the military decrees which emanate from the officers' side. It is very easy to say 'This is unheard of', and then to do nothing; it is very difficult to try to find usable timber among the ruins. Politics is the art of the possible, not what is desirable. My world looks different from that of to-day; but I will try and help that the two of us and another few Germans can live in the world of the future. To achieve this will be difficult enough, if it can be achieved.”

Hans von Seeckt (1866–1936) German general

Letter to Mrs Seeckt (12 February 1919), quoted in F. L. Carsten, The Reichswehr and Politics 1918 to 1933 (Oxford: Clarendon Press, 1966), pp. 31-32.

Stupidity, World, Future, Help

“Divinity should not be given to you from somewhere else. The Upanishad thunders "Thou Art That.”

Chinmayananda Saraswati (1916–1993) Indian spiritual teacher

In Efficiency is the ability to bring expertise in speech. http://books.google.co.in/books?id=mArVw7yUkCsC&pg=PA338, p. 338

“The reason the Internationalist Theatre productions demanded attention was that the directors who had already worked at top theatres like the Royal Court and the Royal Shakespeare Company had agreed to take the risk of directing classical plays with multi-racial casts, that the performance was of a very good standard, and furthermore that many prominent members of the arts establishment, Lindsay Anderson, Cameron MacKintosh, John Barton, Richard Eyre, the great casting director Mary Selway, Stephen Berkoff, Nicolas Roeg, came to see performances by Internationalsit Theatre.”

Angelique Rockas South African actress and founder of Internationalist Theatre, London

On Internatioanlist Theatre
Interview on Helenism .net (September 2011)

“There is a rhetoric of knowledge, a characteristic way in which arguments, proofs, speculations, experiments, polemics, even humor are expressed. …speaking or writing a subject is a performing art, and each subject requires a somewhat different kind of performance from every other. Historians, for example, do not speak or write history in the same way biologists speak or write biology. …it is worth remembering that some scholars-one thinks of Veblen in sociology, Freud in psychology, Galbraith in economics - have exerted influence as much through their manner as their matter. The point is that knowledge is a form of literature, and the various styles of knowledge ought to be studied and discussed.”

Neil Postman (1931–2003) American writer and academic

Language Education in a Knowledge Context (1980)

Way, History, Literature, Knowledge

“I recommend to you, in my last, an innocent piece of art: that of flattering people behind their backs, in presence of those who, to make their own court, much more than for your sake, will not fail to repeat, and even amplify, the praise to the party concerned. This is of all flattery the most pleasing, and consequently the most effectual.”

Philip Stanhope, 4th Earl of Chesterfield (1694–1773) British statesman and man of letters

22 May 1749
Letters to His Son on the Art of Becoming a Man of the World and a Gentleman (1774)

People

“Anyone who dares that nation gets a befitting reply. People across the world learn from Israel the art of doing agricultural and vegetable farming. On the contrary, India has 5,000 km land, population in crores, powerful leaders but Israel has marched way ahead of us.”

Mohan Bhagwat (1950) Indian activist

On Israel, as quoted in " Justifying 'Hindu Rashtra' Mohan Bhagwat quotes Tagore http://www.dnaindia.com/india/report-mohan-bhagwat-cites-tagore-appeals-for-hindu-rashtra-2053725", DNA India (18 January 2015) 2015-present

People, World, Way, Learning

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

Color, Decision, Study, Science

“In fact a man in love or one consumed with hatred creates symbols for himself, as a superstitious man does, from a passion of conferring uniqueness on things or persons. A man who knows nothing of symbols is one of Dante's sluggards. This is why art mirrors itself in primitive rites or strong passions, seeking for symbols, revolving round the primitive taste for savagery, for what is irrational”

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

blood and sex
This Business of Living (1935-1950)

Love, Sex, Strong, Passion

“The search in modem life is for utility; the endeavor is to improve existence materially. Every day, science invents new processes for the feeding, clothing, or transportation of man; she manufactures cheaply inferior products in order to give adulterated luxuries to the greatest number — though it is true that she has also made real improvements in all that ministers to our daily wants. But it is no longer a question of spirit, of thought, of dreams. Art is dead.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Preface, p. 7

Life, Dreams, Search, Question

“Art is magic. So say the surrealists. But how is it magic? In its metaphysical development? Or does some final transformation culminate in a magic reality? In truth, the latter is impossible without the former. If creation is not magic, the outcome cannot be magic. To worship the product and ignore its development leads to dilettantism and reaction. Art cannot result from sophisticated, frivolous, or superficial effects.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

Truth, Reality

“I finished my first woodcut in Dresden in 1905 after the Xylographic art, cutting out of the hard boxwood the clean sketches with the slate pencil. Then followed the rounded iron, to arrive at the woodcut more freely through the simply ripped out sketch on the log (alder, lime tree, poplar), which would be utilized from here on out. Then finally came a short cobbler knife, and without a pré-sketch, the hand cuts freely into the wood a woodcut, just like it would work on paper with the pen.”

Erich Heckel (1883–1970) German artist

Heckel later summarized in this way his woodcut developments, mainly developed during his years in Die Brücke Source: Brücke' Zeichnungen, Aquarelle, Druckgraphik, Magdalena M. Moeller; Verlag Gerd Hatje, Stuttgart 1992, p. 21; as quoted by Louise Albiez https://www.researchgate.net/publication/272168564Claire (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May, 2013 p.12

Tree

“In the [art-magazine] 'Kunst-Kronijk' my work 'Monastic corridor' came under your eyes; it is after a drawing that I started at Kleve after Nature and of which the painting is now almost finished. I believe, you know Kleve. The smallest of the Catholic Churches is a kind of monastery church; it has a nice sacristy, and the passage along the building gave me the motive of which you saw the lithography. On the same spot I designed a sketch in the 'Paarden-posterij' [Horse post-location] (where the cars are stored at Emmerich). I later made it a drawing - one of my best, and also the construction of it is now already in oil, to be completed soon. As motive, aspect, effect, etc. it pleases everyone - it is a real stable with lots of horses in it, and yet I do not have to make an enormous effort to paint the horses. As they are in the stable, they take the mysterious part [of the image]. Who knows, the K[unst]-K[ronyk] will produce a reproduction of it.”

Johannes Bosboom (1817–1891) Dutch painter

version in original Dutch, (citaat van een brief van Johannes Bosboom, in het Nederlands:) In de 'Kunstkronijk' kwam U mijn 'Kloostergang' onder de oogen; 't is naar een Teek[ening] die ik te Cleef naar de Natuur begon en waarvan nu de schilderij bijna gereed is. Ik geloof, gij kent Kleef. De kleinste der Kath. Kerken is een [soort] van Kloosterkerk, heeft een aardige sacristy en de gang langs het Pand gaf mij het motief, waarvan gij de lith[ographie] zaagt. Bij datzelfde verblijf ontwierp ik eene schets in de Paardenposterij (waar de wagens op Emmerik stallen). Ik maakte die later tot eene Teek[ening], een mijner beste, en ook daarvan staat de aanleg in olie gereed, om eerlang voltooid te worden. Als motief, aspect, effect, etc. bevalt het een ieder - 't is een echte stal, waar veel paarden in zijn, en toch hoef ik mij aan het schilderen der paarden niet te buiten te gaan. Zooals ze erin zijn, nemen zij het mysterieuse gedeelte in. Wie weet, levert de K[unst]-K[ronyk] er niet een reproductie van. Quote from Bosboom's letter, 1866; as cited in: Uit het leven van een kunstenaarspaar: brieven van Johannes Bosboom, H.F.W. Jeltes, 1916 https://rkd.nl/nl/explore/excerpts/437 (translation from the original Dutch: Fons Heijnsbroek) 1860's

Cars, Motivation, Nature, Effort

“You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist’s life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible.
This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement
Dee”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from a letter to Katherine Sophie Dreier, Paris 11 September 1929; as cted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 158
Duchamp's quote is referring to a new publication of the 'Duchamp Book' and to his famous so-called Art-Silence.
1921 - 1950

Life, Books, Age, Way

“I find myself frequently maintaining to any young passer-by upon whose attention I can force myself that a genuinely creative career must like a milking stool stand on three legs. There must be accident, there must be sweat, there must be dissatisfaction. That one must work hard is too obvious for comment here. That one must be endowed with native dissatisfaction is very nearly as obvious, for it is the engine that drives you: dissatisfaction with the world and the arts as you find them, dissatisfaction with your own best efforts to capture the uncapturable. What is not so obvious is the support which one must gain from accident, from those dispositions of wind and stars over which one has no control.”

Robert Ardrey book Plays of Three Decades

Plays of Three Decades: Thunder Rock / Jeb / Shadow of Heroes (1968)

World, Star, Support, Effort

“The work of art should be entirely conceived and formed by the mind before its execution. It should receive nothing from Nature’s formal properties or from sensuality or sentimentality... The picture should be constructed entirely from purely plastic elements, that is to say, planes and colours. A pictorial element has no other significance than 'itself', and therefore the picture has no other significance than 'itself.”

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

Quote from the first and only! issue of the art-magazine 'Art Concret', Paris 1930
1926 – 1931

Nature

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

Wassily Kandinsky (1866–1944) Russian painter

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

Books, Thinking, Decision, Painting

“When people still talk about art that I made in the 60's— most of them never saw it, and they never lived through it, and they don't have a clue about it. The idea that they know what minimalism is is absurd. I don't know what minimalism is!”

Frank Stella (1936) American artist

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

People, Idea

“As more and more good ideas come under the protection of patents, it may become increasingly unlikely that any one program can incorporate the state of the art in user-interface design without sinking into a quagmire of unending royalty payments and legal battles.”

Nathaniel Borenstein (1957) American computer scientist

[Borenstein, Nathaniel S., Programming as if people mattered : friendly programs, software engineering, and other noble delusions, 1991, Princeton University Press, Princeton, N.J., 9780691087528, 52, 4. print.]
Attributed

Idea

“Religion, a mediaeval form of unreason, when combined with modern weaponry becomes a real threat to our freedoms. 'This religious totalitarianism has caused a deadly mutation in the heart of Islam and we see the tragic consequences in Paris today. 'I stand with Charlie Hebdo, as we all must, to defend the art of satire, which has always been a force for liberty and against tyranny, dishonesty and stupidity. 'Respect for religion’ has become a code phrase meaning ‘fear of religion.’ Religions, like all other ideas, deserve criticism, satire, and, yes, our fearless disrespect.”

Salman Rushdie (1947) British Indian novelist and essayist

Statement in the Wall Street Journal, Salman Rushdie: ‘I Stand With Charlie Hebdo, as We All Must’ http://blogs.wsj.com/speakeasy/2015/01/07/salman-rushdie-i-stand-with-charlie-hebdo-as-we-all-must/ (7 January 2015)

Stupidity, Fear, Religion, Idea

“The Art Perspective is necessary to all Arts… but it is more particularly necessary to the Art Painting… The Greatest Masters have been the most guilty… The great Occasion of this Fault, is certainly the wrong Method that generally is used in the Education of Persons to this Art: For the Young People are generally put immediately to Drawing, and when they have acquired a Facility in that, they are put to Colouring. And these things they learn by rote, and by Practice only; but are not at all instructed in any Rules of Art. By which means when they come to make any Designs of their own, tho' they… don t know how to govern their Inventions with Judgment, and become guilty of so many gross Mistakes, which prevent themselves, as well as others, from finding that Satisfaction, they otherwise would do in their Performances.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

People, Education, Learning, Drawing

“This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.... somebody actually MADE those paintings....(it) was the first time I realized you could be an artist.”

Robert Rauschenberg (1925–2008) American artist

Source: 1990's, Rauschenberg, Art and Live, 1990, p. 60

Boy, Time, Painting

“We [his art-friend & painter Morris Louis and Noland himself] were interested in Pollock but could gain no lead from him. He was too personal. But Frankenthaler showed us a way – a way to think about and use, color..”

Kenneth Noland (1924–2010) American artist

from: Abstract Art, Anna Moszynska; Thames and Hudson 1990, p. 194

Color, Way, Thinking, Personality

“We [at Apple] worry about the humanity being drained out of music, about it becoming a bits-and-bytes kind of world instead of the art and craft.”

Tim Cook (1960) American business executive

TechSpot: "Tim Cook thinks Spotify is 'draining the humanity out of music'" https://www.techspot.com/news/75875-tim-cook-thinks-spotify-draining-humanity-out-music.html (8 August 2018)

World, Music

“In this sense, we should continually be striving to transform every art into a science: in the process, we advance the art.”

Donald Ervin Knuth (1938) American computer scientist

Source: Computer Programming as an Art (1974), p. 669 [italics in source]

Sense, Science

“The sneaking arts of underling tradesmen are thus erected into political maxims for the conduct of a great empire; for it is the most underling tradesmen only who make it a rule to employ chiefly their own customers. A great trader purchases his good always where they are cheapest and best, without regard to any little interest of this kind.”

Adam Smith (1723–1790) Scottish moral philosopher and political economist

Source: (1776), Book IV, Chapter III, Part II, p. 530.

“It is clear to me that this [his recent works and ideas on art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to H. P. Bremmer (Dutch art-critic and buyer of his paintings), Paris 29 January 1914; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 75
1910's

Idea, Nature, Time, Future

“An art thief is a man who takes pictures.”

George Carlin (1937–2008) American stand-up comedian

Books, Napalm and Silly Putty (2001)

“Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in this phrase: To create a harmony”

Gino Severini (1883–1966) Italian painter

Quoted in: Clint Brown (1998) Artist to Artist, p. 32

Beauty

“For more than two thousand years architectural design by the use of a modulus, except in the case of the classic orders, had been a lost art.”

Ernest Flagg (1857–1947) American architect

Source: Small Houses: Their Economic Design and Construction (1922), Ch. II

“Mr Hearn began really to count as a writer only when his Hellenic qualities of mind, stunted at first by the conditions of life in North America, were at last developed among a people distinguished by somewhat of that instinctive feeling for beauty which formed an incomparable element in the genius of ancient Greece. His æsthetic sense luxuriated in a land where fineness of taste is still a common characteristic. Through the gate of their art he entered, not only into the ways of life of the Japanese, but into their moods and their religion.”

Lafcadio Hearn (1850–1904) writer

Edward Wright, [The Romance of the Outlands, The Quarterly Review, 203, 47–72, https://babel.hathitrust.org/cgi/pt?id=hvd.32044092529163;view=1up;seq=77] July 1905, p. 63
Criticism

Life, People, Religion, Beauty

“Every businessperson knows a story about a highly intelligent, highly skilled executive who was promoted into a leadership position only to fail at the job. And they also know a story about someone with solid—but not extraordinary—intellectual abilities and technical skills who was promoted into a similar position and then soared.
Such anecdotes support the widespread belief that identifying individuals with the “right stuff” to be leaders is more art than science. After all, the personal styles of superb leaders vary: Some leaders are subdued and analytical; others shout their manifestos from the mountaintops. And just as important, different situations call for different types of leadership. Most mergers need a sensitive negotiator at the helm, whereas many turnarounds require a more forceful authority.”

Daniel Goleman (1946) American psychologist & journalist

Source: IQ and technical skills are important, but emotional intelligence is the sine qua non of leadership (1998), p. 93-94

Intelligence, Support, Science, Personality

“I wanted to kill art for myself.... a new thought for that object.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968
Source: 'Marcel Duchamps 1887 – 1968', Artforum 7 no. 3, November 1968, p. 6

“Only the absence of honesty and of a true love of art provides some artists with the affrontery to live on stale cans of artistic economics stocked up for years, and, year in year out, until they are fifty, to mutter about what they had first started to talk about when they were twenty.”

Olga Rozanova (1886–1918) Russian artist

Quote, 1913, in 'Osnovy novogo tvorchestva i prichiny ego neponimaniia,', in 'Soiuz molodezhi' (St. Petersburg), March 1913, p. 20; translated in John E. Bowlt, The Russian Avant- Garde: Theory and Criticism; Thames and Hudson, London 1988, p. 109

Love

“With respect to the homosocial/homosexual style, it seems to be possible to divide Victorian men among three rough categories according to class. The first includes aristocratic men and small groups of their friends and dependents, including bohemians and prostitutes; for these people, by 1865, a distinct homosexual role and culture seem already to have been in existence in England… It seems to have constituted a genuine subculture, facilitated in the face of an ideologically hostile dominant culture by money, privilege, internationalism, and for the most part, the ability to command secrecy… This role is closely related to — is in fact, through Oscar Wilde, the antecedent of — the particular stereotype that at least until recently has characterized American middle-class gay homosexuality; its strongest associations, as we have noted, are with effeminacy, transvestism, promiscuity, prostitution, continental European culture, and the arts.”

Eve Kosofsky Sedgwick (1950–2009) American academic

Between Men: English Literature and Male Homosocial desire (New York: Columbia University Press, 1985), pp. 172-173

Men, Money, Hostility, People

“When works of art are presented like rare butterflies on the walls, they're decontextualized. We admire their beauty, and I have nothing against that, per se. But there is more to art than that…”

Hans Haacke (1936) conceptual political artist

1990s, Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere, 1998

Beauty

“The rapid establishment of Christianity must therefore have been from the conviction which those who embraced it, had of its "Truth and power unto salvation." Christianity at first spread itself amongst the most enlightened nations of the earth - in those places where human learning was in its greatest perfection; and, by the force of the evidence which attended it, amongst such men it gained an establishment. It has been justly observed, that "it happened very providentially to the honour of the Christian religion, that it did not take its rise in the dark illiterate ages of the world, but at a time when arts and sciences were t their height, and when there were men who made it the business of their lives to search after truth and lift the several opinions of the philosophers and wise men, concerning the duty, the end, and chief happiness of reasonable creatures." Both the learned and the ignorant alike embraced its doctrines; the learned were not likely to be deceived in the proofs which were offered; and the same cause undoubtedly operated to produce the effect upon each. But an immediate conversion of the bulk of mankind, can arise only from some proofs of a ddivine authority offering themselves immediately to the senses; the preaching of any new doctrine, if lest to operate only by its own force, would go but a very little way towards the immediate conversion of the gnorant, who have no principle of action but what arises from habit, and whose powers of reasoning are insufficient to correct their errors. When Mahomet was required by his followers to work a miracle for their conviction, he always declined it; he was too cautious to trust to an experiment, the success of which was scarcely whithin the bounds of probablity; he amused his followers with prtended visions, which with the aid afterwards of the civil and military powr; and as the accomplishment of that event was by a few obscure persons, who founded their pretentions upon authority from heaven, we are next to consider, what kind of proofs of their divine commission they offered to the world; and whether they themselves could have been deceived, or mankind could have been deludded by them.”

Samuel Vince (1749–1821) British mathematician, astronomer and physicist

Source: The Credibility of Christianity Vindicated, p. 20; As quoted in " Book review http://books.google.nl/books?id=52tAAQAAMAAJ&pg=PA261," in The British Critic, Volume 12 (1798). F. and C. Rivington. p. 261-262

Men, Happiness, Truth, Age

“We are in the process of seeing the fulfillment of Edgar Allan Poe's prophecy in which the painter, impassioned by his mistress-model and also by his art, "did not want to see that the colors he spread on his canvas were taken from the cheeks of the woman seated beside him. And when several weeks had passed, and very little remained to be done, nothing but a stroke on the mouth and a glaze over the eye, the mistress’s spirit still flickered like the flame at the base of a lamp. Then he put on the final touch, put the glaze in place, and for a moment the painter stood in ecstasy before the work he had finished. But a moment later, he was struck with panic, and shouting with a piercing voice: ‘It is truly Life itself,’ he suddenly turned around to look at his mistress. She was dead."”

Jacques Ellul (1912–1994) French sociologist, technology critic, and Christian anarchist

Nothing ever constrains us to face what is dying when we see it so alive in our images.
J. Hanks, trans. (1985), p. 208
The Humiliation of the Word (1981)

Life, Color, Dead

“Mossadeq, the orator, is difficult to judge as a politician because of the perpetual contradictions between his words and his acts, and because of his sudden changes of mood from elation to depression before one's very eyes. His absolute certainty, violently expressed in hysterical speeches, would turn to tears and sobbing. He had frequent "diplomatic" illensses and he played out macabre comedies in which he would exclaim: "I am a-dying…" and so forth. He has been compared to Robespierre, to Renzi and even to characters from the Commedia dell' Arte.”

Mohammad Reza Pahlavi (1919–1980) Shah of Iran

Page 53
Publications, The Shah's Story (1980), On world leaders and statesmen

Mood, Tear, Change

“It is a charmed ring—this emerald stone
Will be a sign, when thou art from me gone.
Mark if it changes; if a spot be seen
On the now spotless ground of lighted green,
Danger is round me; haste thou then to me,
Thou know'st how fearless is my trust in thee.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Golden Violet - The Child of the Sea
The Golden Violet (1827)

Light, Change

“All art preserves mysteries which aesthetic philosophers tackle in vain.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“It is pointed out convincingly by George Sarton in The Life of Science that the development of science, as contrasted with that of art, is cumulative and progressive. Every scientist is educated in the current knowledge of his age and, making use of all he has learned, attempts to add something of his own to the existing body of knowledge. For this reason it is essentially impossible to isolate his personal achievements from the total pattern of scientific development. It follows that one cannot write the scientific life story of an isolated scholar, but only the history of the branches of science in which he participated.”

Eduard Jan Dijksterhuis (1892–1965) Dutch historian

p 14
Simon Stevin: Science in the Netherlands around 1600, 1970

Life, Age, Education, History

“The man is a complete wackadoo, but so is every great actor who ever lived. You gotta separate the artist from his/her art, or you won't be able to enjoy anything.”

Brian K. Vaughan (1976) American screenwriter, comic book creator

“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

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

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

Time, Parting

“The art of growing old is the art of being regarded by the oncoming generations as a support and not as a stumbling-block, as a confidant and not as a rival.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old

Confidence, Support

“Life may as properly be called an art as any other.”

Henry Fielding book Amelia

Book I, Ch. 1
Amelia (1751)

Life

“Mr. Owen looked upon men through the spectacles of his own good-nature. He seldom took Lord Brougham's advice "to pick his men." He never acted on the maxim that the working class are as jealous of each other as the upper classes are of them. The resolution he displayed as a manufacturer he was wanting in as a founder of communities…. No leader ever took so little care as Mr, Owen in guarding his own reputation. He scarcely protested when others attached his name to schemes which were not his. The failure of Queenwood was not chargeable to him. When his advice was not followed he would say : "Well, gentlemen, I tell you what you ought to do. You differ from me. Carry out your own plans. Experience will show you who is right." When the affair went wrong then it was ascribed to him. Whatever failed under his name the public inferred failed through him. Mr. Owen was a general who never provided himself with a rear guard. While he was fighting in the front ranks priests might come up and cut off his commissariat. His own troops fell into pits against which he had warned them. Yet he would write his next dispatch without it occurring to him to mention his own defeat, and he would return to his camp without missing his army. Yet society is not so well served that it need hesitate to forgive the omissions of its generous friends. To Mr. Owen will be accorded the distinction of being a philosopher who devoted himself to founding a Science of Social Improvement and a philanthropist who gave his fortune to advance it. Association, which was but casual before his day, he converted into a policy and taught it as an art. He substituted Co-operation for coercion in the conduct ot industry and the willing co-operation of intelligence certain of its own reward, for sullen labour enforced by the necessity of subsistence, seldom to be relied on and never satisfied.”

George Holyoake (1817–1906) British secularist, co-operator, and newspaper editor

George Jacob Holyoake in The History of Co-operation in England (1875; 1902).

Men, Intelligence, Communication, Failure

“The reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its figuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 45
Search for the Real and Other Essays (1948)

World, Fear, Color, Mood

“Society is basically not interested in art. Art has a purpose of its own.”

Donald Judd (1928–1994) artist

Chinati: Judd’s Concretes Re-open http://adobeairstream.com/art/chinati-judds-concretes-re-open, AdobeAirstream.com, 9 October 2009 Attributed from posthumous publications

“Art begins with resistance — at the point where resistance is overcome. No human masterpiece has ever been created without great labor.”

André Gide (1869–1951) French novelist and essayist

Poétique

“You don't like my painting, you only want to help me. If you had given me one franc for my picture I would have taken it [when M. Castaing discovered his art for the very first time and offered him in advance 100 franc to make a new painting - circa 1917 – 1919]”

Chaim Soutine (1893–1943) painter

As quoted in Soutine, Monrou Wheeler, Museum of modern art, New York, 1950; p. 37

Time, Help, Painting

“In October 1945 I returned from America, where I had stayed during the war. I arrived in Le Havre, full of ruins, a carcass of a city. It took one night to reach Paris on a train with no windows. That night I got the idea for the monument. I sketched it on paper and forgot about it, until I visited Rotterdam for the first time in 1947. I saw a city without a heart. I saw a crater in the body of a city. And I remembered that night, the sketches. I made a small terracotta model and sent it to an exhibition of French art in Germany.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from interview in 'Het Vrije Volk', (Dutch newspaper), 4 July 1950; as cited in 'Unveiling of the Dutch City https://www.wederopbouwrotterdam.nl/en/tijdlijn/unveiling-of-the-destroyed-city/ Ossip Zadkine explained in 1950 the genesis of his large bronze sculpture 'Destroyed City', commissioned by the city Rotterdam 1940 - 1960

War, Idea, Time, Heart

“I don't care tuppence for what they do in London in the art world. It doesn't matter to me. I don't think of it. All I am concerned with is doing my own thing in my own way.. as well as I can.”

L. S. Lowry (1887–1976) British visual artist

Mister Lowry- interview Tyne Tees Television 1968 L. S. Lowry - A Biography by Shelley Rhode Lowry Press 1999 ISBN 9781902970011.
Tynes Tees Television Interview 1968

World, Way, Thinking

“A work of art is a world in itself reflecting senses and emotions of the artist's world.
Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 59
Search for the Real and Other Essays (1948)

World, Color, Flowers, Sense

“You do not have the right to use this art form to feel inferior.”

Martin de Maat (1949–2001) American theatre director

As quoted by a former student "TJ" (23 March 2006) http://yesandblog.blogspot.com/2006_03_01_yesandblog_archive.html

Feeling

“Science and the arts shared the same language at the Restoration. They no longer seem to do so today. …they lack the same language. And it is the business of each of us to make that one universal language which alone can unite art and science, and layman and scientist, in a common understanding.”

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

"Sense and Sensibility"
The Common Sense of Science (1951)

Understanding, Business, Universe, Science

“Why not to set free these forms? Why not trying to uncover the infinite meaning of absolute space, the meaning of pure and absolute light? [Manzoni is referriung to the colourless, but still matter-made art paintings, made by Zero artists, around 1950-60]”

Piero Manzoni (1933–1963) Italian artist

Source: De Tweede Helft', Ad de Visser, 1998, p. 159

Light, Painting

“Strangely enough, there were certain scholars who envied the freedom of obscurity, and who, burdened with certain private sorrows which they dared not tell anyone, or who perhaps wanting only a holiday from the weariness of the sort of art they had themselves created, wrote novels too, under assumed and humble names. And when they did so they put aside pedantry and wrote as simply and naturally as any common novelist.
For the novelist believed that he should not be conscious of techniques. He should write as his material demanded.”

Pearl S. Buck (1892–1973) American writer

The Chinese Novel (1938)

Nature, Freedom, Holiday, Envy

“The love of praise, howe'er concealed by art,
Reigns more or less, and glows in ev'ry heart.”

Edward Young (1683–1765) English poet

Satire I, l. 51.
Love of Fame (1725-1728)

Love, Heart

“From the moment painting ceased to be religious it started to decay, so that now it has reached a childishness that borders on idiocy. People who admire it are even greater idiots than those who paint. Art loses all reason for being if it's not animated by a great feeling.”

Aldo Palazzeschi book Roma

Page 144, "Dinner at nine. Dammit!"
Roma (1953)

People, Feeling, Animals, Painting

“The heroism of our soldiers is especially inspiring because most of them were in their 20s, inexperienced in the art of warfare, who answered the call of the motherland with unflinching courage - so very much like the revolutionaries who won freedom and founded Asia's First Republic.”

Francis Escudero (1969) Filipino politician

2009, Statement: A Call for Heroism

Courage, Freedom

“Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.”

Kurt Schwitters (1887–1948) German artist

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

Imagination, Painting

“Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion.”

Maurice Denis (1870–1943) French painter

Quote of Denis, 1909: from Bouillon 2006, pp. 17-18; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [9] 1890 - 1920

Nature

“Pop Art is not painting because painting must have content and emotion.”

Grace Hartigan (1922–2008) American artist

As quoted in "Grace Hartigan, 86, Abstract Painter, Dies" in The New York Times (18 November 2008)

Painting

“The Catholic writer understands the necessary relationship between truth and beauty, which is not mere social convention or cultural accident but an essential form of human knowledge--intuitive, holistic, and experiential. Art is a form of knowing--distinct and legitimate--rooted in feeling and delight--that discovers, in the words of Jacques Maritain, "The splendor of the secrets of being radiating into intelligence.”

Dana Gioia (1950) American writer

34
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

Truth, Secret, Beauty, Feeling

“Suppression of all harmful influences in literature and the press, stage, art and cinema.”

Gottfried Feder (1883–1941) German economist and politician

Source: The German State on a National and Socialist Foundation (1923), p. 56

Literature

“Guided only by their feeling for symmetry, simplicity, and generality, and an indefinable sense of the fitness of things, creative mathematicians now, as in the past, are inspired by the art of mathematics rather than by any prospect of ultimate usefulness.”

Eric Temple Bell (1883–1960) mathematician and science fiction author born in Scotland who lived in the United States for most of his li…

As quoted in 777 Mathematical Conversation Starters http://books.google.co.in/books?id=JNbKURWmODkC&pg=PA172 (2002) by John de Pillis, p. 172

Feeling, Mathematics, Sense, Past

“I strove with none, for none was worth my strife;
Nature I loved; and next to Nature, Art.
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.”

Walter Savage Landor (1775–1864) British writer

I Strove with None (1853). The work is identified in Bartlett's Quotations, 10th edition (1919) as Dying Speech of an old Philosopher.
Quoted in W. Somerset Maugham: The Razor's Edge, The Blakiston Company, Philadelphia, 1944, p. 161.

Love, Life, Nature

“By words one transmits thoughts to another, by means of art, one transmits feelings.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

Feeling

“Bless Madison Ave for restoring the magical art of the cavemen to suburbia.”

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

Source: 1960s, Counterblast (1969), p. 130

“First-rate science fiction was, and remains, more interesting than second-rate art.”

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

Ibid.
Essays and reviews, From the Land of Shadows (1982)

Science

“The calling of art is to extract us from our daily reality, to bring us to a hidden truth that's difficult to access - to a level that's not material but spiritual.”

Abbas Kiarostami (1940–2016) Iranian film director, screenwriter, photographer and film producer

https://www.theguardian.com/film/2009/jun/13/abbas-kiarostami-film

Truth, Reality

“The farther West we drove [to California, Fall of 1963, with Gerard Malanga, Wynn Chamberlain, and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.... the mystery was gone, but the amazement was just starting.”

Andy Warhol (1928–1987) American artist

quote in 1963
Quote in Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

People, Angels, Way, Quotes

“The great end of all human industry, is the attainment of happiness. For this were arts invented, sciences cultivated, laws ordained, and societies modelled, by the most profound wisdom of patriots and legislators.”

David Hume book Essays, Moral, Political, and Literary

Part I, Essay 16: The Stoic
Essays, Moral, Political, and Literary (1741-2; 1748)

Wisdom, Happiness, Law, Science

“[art] urges man to identify himself with nature.”

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

Source: 1940s, Abstract Art, Concrete Art (c. 1942), p. 118

Nature

“Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass.”

Walter Pater (1839–1894) essayist, art and literature critic, fiction writer

Conclusion The Renaissance http://www.authorama.com/renaissance-1.html (1873)

“The various parts of the body cannot be perceived as simple units and have no clear relationship to one another. In almost every detail the body is not the shape that art has led us to believe it should be.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. 1: The Naked and the Nude

Parting

“The art of will-making chiefly consists in baffling the importunity of expectation.”

William Hazlitt (1778–1830) English writer

"On Will-Making" Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

“The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 55
Search for the Real and Other Essays (1948)

Nature

“Art is Nature made by Man
To Man the interpreter of God.”

Robert Bulwer-Lytton, 1st Earl of Lytton (1831–1891) English statesman and poet

The Artist, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

God, Nature

“Oh do not die, for I shall hate
All women so, when thou art gone.”

John Donne (1572–1631) English poet

A Fever, stanza 1

Women, Hate

“Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself…”

Henry Moore (1898–1986) English artist

Quote of Moore, as cited by Unesco, International Conference of artists, Venice 1952; typescript, in HMF Library
1940 - 1955

Thinking

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Louise Bourgeois (1911–2010) American and French sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007:

Women, People, Way, Home

“We should try to return to our youth, to work naively; this is what I see, and it is why I have such success, because our century has tried to return to the primitive. I work as if no art had ever been made, before me, as if I had never learned anything. I am the first man to do sculpture.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), pp. 406-407

Youth, Learning, Success

“I would like to express my longing for happy experiences. I do not want us to be for ever regretting. Art has been and remains the part of my life that brings me happiness.”

Max Pechstein (1881–1955) German artist

as quoted by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 89

Life, Happiness, Parting

“The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.”

Dana Gioia (1950) American writer

"Notes Toward a New Bohemia," http://www.danagioia.net/essays/ebohemia.htm transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994) Essays

Literature, Idea, Universe, Time

“Religion is hard work. Its insights are not self-evident and have to be cultivated in the same way as an appreciation of art, music, or poetry must be developed.”

Karen Armstrong book The Case for God

Source: The Case for God (2009), Ch. 1 : Homo religiosus, p. 8

Religion, Music, Way

Quotes about art page 42

Quotes about art
page 42