Quotes about art
page 43

“His [Marcel Duchamp's] idea was that anything could be art by focusing the mind to think of it as art. My images are similar but at the time my work was first being shown, 1958-'59, I was unfamiliar with Duchamp and Dada. Everyone said my work was Dada, so I read on it, went to Philadelphia to see the Arensberg Duchamp collection, was delighted by it and later met him (Duchamp)... But it was all more a coincidence. Perhaps it’s that certain ideas get into the air, ideas that come out of our living and out of the environment automatically.”

Jasper Johns (1930) American artist

Daily Close-up, after the Flag, Roberta Brandes Gratz, New York Post, 30 December 1970, p. 25
1970s

Idea, Thinking, Time, Reading

“The increase of visual stress among the Greeks alienated them from the primitive art that the electronic age now reinvents after interiorizing the “unified field” of electric all-at-onceness.”

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

Source: 1960s, The Gutenberg Galaxy (1962), p. 72

Age

“Avoiding all control, I spread out sheets of white paper or canvas in the nature. For some time they stay in the grass, in the rushes of river, in the meadows or among the rocks. Nature registers its presence, covering the surface of the paper with colors, forms and tracks. This process is controlled by a number of agents; such as space and time, substance and causality. It is governed by nature's intensity. It does not, depend on man's interference. Nature is the greatest and most admirable creator, and unlike logic it doesn't fail. The artist obligation is not to shape - handicraft, but to understand the riddles of reality. In such conception of Art there lies, as in the Universe itself, an immense richness, and a countless variety of forms.”

Jacek Tylicki (1951) American artist

Catalogue to exhibition in Gallery 38 - Copenhagen, 1976, as cited in: Leszek Brogowski & Dorota Czerner (transl.). Jacek Tylicki: Art and Artworks. 2014

Color, Understanding, Nature, Reality

“I assure you no art was ever less spontaneous than mine. What I do is the result of reflection and study of the great masters; of inspiration, spontaneity, temperament — temperament is the word — I know nothing.”

Edgar Degas (1834–1917) French artist

Quote of Degas in conversation with George Moore, later quoted by Moore in Impressions and Opinions (1891)
1876 - 1895

Study

“The art of taxation consists in so plucking the goose as to procure the largest quantity of feathers with the least possible amount of hissing.”

Jean-Baptiste Colbert (1619–1683) French politician

Quoted in: William Sharp McKechnie (1896). The State & the Individual: An Introduction to Political Science, with Special Reference to Socialistic and Individualistic Theories https://archive.org/details/stateindividuali00mckeuoft. p. 77

“Love is a simple thing and a deep thing: it is an act of life and not an illusion. Art is an illusion.”

George Bernard Shaw (1856–1950) Irish playwright

Acis, in Pt. V
1920s, Back to Methuselah (1921)

Love, Life

“Titles or awards are not the mark of your success. They are the beginning of a life-long sadhana. Learning should never stop. Discipline of riyaz is a must if you are serious about pursuing an art.”

Shreya Ghoshal (1984) Indian playback singer

TRP of programs http://www.thehindu.com/features/metroplus/queen-of-charts/article5100604.ece

Life, Learning, Success

“A final argument for broad freedom of expression is its effect on the character of individuals in a society. Citizens in a free society must have courage — the courage to hear not only unwelcome political speech but novel and shocking ideas in science and the arts.”

Anthony Lewis book Freedom for the Thought That We Hate

[186, Anthony, Lewis, w:Anthony Lewis, Freedom for the Thought That We Hate; A Biography of the First Amendment, Basic Books, 2007, 0465039170]

Idea, Courage, Freedom, Science

“While this bourgeois order found its rich—and even affirmative—representation in art and literature, … it remained an order which was over-shadowed, broken, refuted by another dimension which was irreconcilably antagonistic to the order of business, indicting it and denying it. And in the literature, this other dimension is represented not by the religious, spiritual, moral heroes (who often sustain the established order) but rather by such disruptive characters as the artist. the prostitute, the adulteress, the great criminal and outcast, the warrior, the rebel-poet, the devil, the fool—those who don't earn a living, at least not in an orderly and normal way. To be sure, these characters have not disappeared from the literature of advanced industrial society, but they … perform a function very different from and even contrary to that of their cultural predecessors. They are no longer images of another way of life but rather freaks or types of the same life, serving as an affirmation rather than negation of the established order.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 58-59

Life, Fools, Way, Literature

“One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.”

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

Abstract
Outlines of a Philosophy of Art, 1925

Life, Imagination, Reality

“Poetry is the most bodliy of arts, the medium of poetry is the column of breath rising from the diaphragm in the individual's chest to be shaped into meaning sounds inside the mouth of whoever undertakes to say the poem.”

Robert Pinsky (1940) American poet, editor, literary critic, academic.

The Art of Poetry - interview 1995 with Downing & Kunitz

“The most momentous thing in human life is the art of winning the soul to good or to evil.”

Pythagoras (-585–-495 BC) ancient Greek mathematician and philosopher

As quoted in Lives and Opinions of Eminent Philosophers, as translated by Robert Drew Hicks (1925)
Variant translation: The most momentous thing in human life is the art of winning the soul to good or evil.
As quoted in Ionia, a Quest (1954) by Freya Stark, p. 94

Life, Soul, Evil

“Art is the concrete representation of our most subtle feelings. That's the end”

Agnes Martin (1912–2004) American artist

of the interview
1980 - 2000, Perfection Is in the Mind', 1995

Feeling

“Americans prided themselves on being a nation of peace, dedicated to the arts of commerce rather than the rapacity of empire and "the spirit of war."”

Allen C. Guelzo (1953) American historian

Source: 2010s, Gettysburg: The Last Invasion (2013), p. 9

War, Peace

“For a long time one school of players favored the technique of stating side by side, developing in counterpoint, and finally harmoniously combining two hostile themes or ideas, such as law and freedom, individual and community. In such a Game the goal was to develop both themes or theses with complete equality and impartiality, to evolve out of thesis and antithesis the purest possible synthesis. In general, aside from certain brilliant exceptions, Games with discordant, negative, or skeptical conclusions were unpopular and at times actually forbidden. This followed directly from the meaning the Game had acquired at its height for the players. It represented an elite, symbolic form of seeking for perfection, a sublime alchemy, an approach to that Mind which beyond all images and multiplicities is one within itself — in other words, to God. Pious thinkers of earlier times had represented the life of creatures, say, as a mode of motion toward God, and had considered that the variety of the phenomenal world reached perfection and ultimate cognition only in the divine Unity. Similarly, the symbols and formulas of the Glass Bead Game combined structurally, musically, and philosophically within the framework of a universal language, were nourished by all the sciences and arts, and strove in play to achieve perfection, pure being, the fullness of reality. ”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

Life, God, Hostility, World

“The condition every art requires is, not so much freedom from restriction, as freedom from adulteration and from the intrusion of foreign matter.”

Willa Cather (1873–1947) American writer and novelist

"Four Letters: Escapism" (1936)
Willa Cather on Writing (1949)

Freedom

“The air of the New World seems favorable to the art of declamation.”

Joseph Conrad book Nostromo

Part First: The Silver of the Mine, Ch. 6
Nostromo (1904)

World

“I very nearly died. Of course, everyone thought I was acting, even the person doing the strangling. But actually I was dying. Luckily someone noticed the froth coming out of my mouth and knew something was wrong. I wasn't that spooked by the incident. But when they told me I had been out for a while, I wanted to make sure I wouldn't have any long term damage because I didn't know how long the oxygen had been cut off to my brain. But I was fine apart from a couple of rope burns. That's what happens when you take art to extremes.”

Hugo Weaving (1960) Nigerian born British-Australian actor

On losing consciousness in August 2000, during a performance of the Sydney Theatre Company's The White Devil by John Webster. The Sunday Telegraph (December 2002)

Personality

“Hollywood movies of the Fifties, like The Ten Commandments and Ben-Hur, with their epic clash of pagan and Judeo-Christian cultures, tell more about art and society than the French-infatuated ideologues who have made a travesty of the “best” American higher criticism.”

Camille Paglia (1947) American writer

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 208

“The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?"”

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

Source: Art on the Edge, (1975), p. 237-9, "Reality Again: The New Photorealism"

Nature, Appearance, Success, Painting

“Having red several of your books, I wonder if you [ Rudolf Steiner, the German founder of anthroposophy] could find the time to read my brochure 'Le Néo-Plasticisme', which I am closing. I believe that Neo-Plasticism is the art of the foreseeable future for all true anthroposophists and theosophists. Neo-Plasticism creates harmony through the equivalence of the two extremes: the universal and the individual. The former by 'revelation', the latter by 'deduction'... It was impossible to bring about an equilibrium of relationships other than by destroying the 'form', and replacing it by a new 'universal' expressive means.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote from Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
1920's

Books, Universe, Time, Reading

“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

Piet Mondrian (1872–1944) Peintre Néerlandais

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts. <br class="br">Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp. 44-45 <br class="br">published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931 <br class="br">1930's

Pleasure, Idea, Nature, Effort

“For some time now it has been clear that intermedia art is trending toward that point at which all the phenomena of life on earth will constitute the artist’s palette. It is the purpose of this chapter to illuminate the direction of that trend and to cite a few pertinent examples. As with all other Paleocybernetic phenomena, the direction is simultaneously toward inner and outer space, the microcosm and the macrocosm. On the one hand, intermedia environments turn the participant inward upon himself, providing a matrix for psychic exploration, perceptual, censorial, and intellectual awareness; on the other hand technology has advanced to the point at which the whole earth itself becomes the “content” of aesthetic activity. The term “light show” must now be expanded virtually to include the aurora borealis, since hemispherical lumia displays are possible in the creation of artificial plasma clouds in space (see color plates), the launching of rockets to generate atmospherical events, or urban environmental generators such as Nicholas Schoffer’s monumental Cybernetic Light Tower, which transforms the skies of Paris into panoramic fantasias of color.”

Gene Youngblood book Expanded Cinema

Source: Expanded Cinema, 1970, p. 348; The Artist as Ecologist http://www.screeningthepast.com/2011/11/the-artist-as-ecologist/

Life, Color, Light, Time

“Considering how few, and how simple the Principles are, upon which the whole Art of Perspective depends, and withal how useful, nay how absolutely necessary this Art is to all forts of Designing; I have often wonder'd, that it has still been left in so low a degree of Perfection, as it is found to be, in the Books that have been hitherto wrote upon it.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

Books, Dependency, Perfection

“Religion is a barbarous obsidian knife poised over our chests — put it in a cabinet and admire it as a work of art, but don't ever wield the damned thing ever again.”

PZ Myers (1957) American scientist and associate professor of biology

http://scienceblogs.com/pharyngula/2011/06/atheism_fascism.php
Atheism ≠ fascism
Pharyngula
2011-06-12

Religion

“Art should be like a holiday: something to give a man the opportunity to see things differently and to change his point of view.”

Paul Klee (1879–1940) German Swiss painter

As quoted in the film Der Bauhaus, produced by TV-Rechte in Germany (1975)
Attributed from posthumous publications

Change, Holiday

“Art was a palace once, things great and fair,
And strong and holy, found a temple there:”

Richard Le Gallienne (1866–1947) British writer

To the Reader English Poems Copland & Day 1895 kindle ebook.

Strong

“.. art and life are no longer separate domains… The word 'art' no longer has anything to say to us. In place of that, we [=De Stijl-artists ] insist upon the construction of our surroundings according to creative laws, deriving from a fixed principle.”

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

quote of 1918
quoted in Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 85
1912 – 1919

Life, Law, Quotes

“Talking is a necessity, listening is an art.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Reden ist uns ein Bedürfnis, Zuhören ist eine Kunst.
According to http://falschzitate.blogspot.de/2017/04/reden-ist-uns-ein-bedurfnis-zuhoren-ist.html pure invention.
Misattributed

“If humanity were to lose its libraries, not only would it be deprived of certain treasures of art, certain spiritual riches, but, more important still, it would lose its recipes for living.”

Georges Duhamel (1884–1966) French writer

Source: Défense des Lettres [In Defense of Letters] (1937), pp. 17-18

“Thou art my life, my way, my light”

Francis Quarles (1592–1644) English poet

Why dost thou Shade thy Lovely Face? (1635).

Life, Way, Light

“The streets of Paris, with their shops of old furniture, etchings, and works of art, are a veritable museum, far less tiring than official museums, and from which one imbibes just as much as one can.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 105

“With the advance of knowledge, therefore, prayer and sacrifice assume the leading place in religious ritual; and magic; which once ranked with them as a legitimate equal, is gradually relegated to the background and sinks to the level of a black art.”

James Frazer book The Golden Bough

Source: The Golden Bough (1890), Chapter 7, Incarnate Human Gods.

Knowledge

“My dear Pratella, I submit to your futurist genius these new ideas, and I invite you to discuss them with me. I am not a musician, so that I have no acoustic preferences, nor works to defend. I am a futurist painter who projects on a profoundly loved art his will to renew everything. This is why, bolder than the bolder professional musician, totally unpreoccupied with my apparent incompetence, knowing that audacity gives all prerogatives and all possibilities, I have conceived the renovation of music through the Art of Noise.
Luigi Russolo
Painter
Milano, March 11, 1913.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Source: 1910's, The Art of Noise', 1913, p. 12

Love, Music, Idea

“Let the sweet hope that Thou art mine,
My life and death attend;
Thy presence through my journey shine,
And crown my journey's end.”

Anne Steele (1717–1778) English hymn writer, essayist

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 328. "The Grace of God". Adopted as a hymn by several protestant denominations, sometimes under a different title. Probably first published pseudonymously as " Theodosia" in Poems on Subjects Chiefly Devotional (1760).

Life, Death, Hope

“It is of this sort of divine service I used the expression that, in comparison with the Christianity of the New Testament, it is playing Christianity. The expression is essentially true and characterizes the thing perfectly. For what does it mean to play, when one reflects how the word must be understood in this connection? It means to imitate, to counterfeit, a danger when there is no danger, and to do it in such a way that the more art is applied to it, the more delusive the pretense is that the danger is present.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1850s, Attack upon Christendom (1855), p. 121

Way

“Tagore once said– art has to be beautiful, but, before that, it has to be truthful.
Now, what is truth? There is no eternal truth. Every artist has to learn private truth though a painful private process. And that is what he has to convey.”

Ritwik Ghatak (1925–1976) Bengali filmmaker and script writer

[Ghatak, Ritwik, Cinema and I, 1987, Ritwik Memorial Trust, 75]

Pain, Truth, Beauty, Learning

“Art must unquestionably have a social value; that is, as a potential means of communication it must be addressed, and in comprehensible terms, to the understanding of mankind.”

Rockwell Kent (1882–1971) American artist

It's Me O Lord: The Autobiography of Rockwell Kent (1955)

Communication, Understanding

“In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer’s role as an inextricable part of the system. Jack Burnham’s 1968 Artforum essay “Systems Aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. Systems https://books.google.nl/books?id=Ip_0rQEACAAJ, 2015. Overview

Music, Science, Change, Parting

“Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. […] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or […] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind.”

Barbara Hepworth (1903–1975) English sculptor

Quote from a conversation with J.P. Hodin, 18 August 1959; in an extract from J.P. Hodin, Barbara Hepworth, London, 1961, Two Conversations with Barbara Hepworth: 'Art and Life' and 'The Ethos of Sculpture', pp. 23–24
1947 - 1960

Life, World, Way, Spring

“Why art thou silent and invisible,
Father of Jealousy?”

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

To Nobodaddy, st. 1
1790s, Poems from Blake's Notebook (c. 1791-1792)

Jealousy

“.. there is no longer any beauty except the struggle. Any work of art that lacks a sense of aggression can never be a masterpiece.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

In the 'First Futurist Manifesto,' Filippo Marinetti, 1909; as quoted in Critical Writings: Filippo Tommaso Marinetti, New Edition, quoted in the text on the Back Cover, Macmillan, 7 Apr 2007
1900's

Beauty, Sense

“He [ Hans Hofmann one of her art teachers] would come up to me [1937-38], look at my work, and do a critique half in English and half in German, but certainly nothing I could understand. When he left the room I would call George McNeil, who was then the monitor, over and I would ask: 'What did this man say to me?' Hoffman was teaching Cubism and that was pretty exciting. Matisse and Picasso were my highlights. It was as though I was swinging between them. First I started to work with color and then there was a heavy swing toward the linear.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

Color, Understanding, Teachers

“They [Kandinsky, Jawlensky and Paul Klee ] were constantly arguing about art and each of them, at first, had his own ideas and his own style. Jawlensky was far less intellectual than Kandinsky or Klee and was often frankly puzzled by their theories. My 1908 portrait entitled 'Zuhören' ('Listening') actually represents Jawlensky, with an expression of puzzled astonishment on his chubby face, listening to Kandinsky's new theories of art.”

Gabriele Münter (1877–1962) German painter

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

Idea

“While politics is the art of the possible, history is the art of the impossible. I have never hesitated in attempting the impossible. What is historically relevant may not be politically prudent. One has to make one’s choices.”

V. P. Singh (1931–2008) Indian politician

The Lonely Punter: V.P.Singh

History

“Art is in itself noble; that is why the artist has no fear of what is common. This, indeed, is already ennobled when he takes it up.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Die Kunst an und für sich selbst ist edel; deßhalb fürchtet sich der Künstler nicht vor dem Gemeinen. Ja indem er es aufnimmt, ist es schon geadelt, und so sehen wir die größten Künstler mit Kühnheit ihr Majestätsrecht ausüben.
Maxim 61, trans. Stopp
Maxims and Reflections (1833)

Fear

“For this reason, in any cultural development in which the immigrant shares and is a real contributive factor, a way must be found to make his religious beliefs and experience of use. This means more than to permit him to worship in his own way. It means more than toleration. It means the use for America of the finest aspirations and traditions of these men. It means an appreciation of their literature and of the art which has come out of these beliefs.”

Frances Kellor (1873–1952) American sociologist

What is Americanization? (1919)

Men, Way, Literature

“The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional… All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter II. Ancient Oriental Urban cultures

Life, God, Age, World

“I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions... The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 406

God, People, Idea

“The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles... If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', in 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, pp. 24-25
Quotes of Fernand Leger, 1920's

Beauty, Color

“My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention.”

Ai Weiwei (1957) Chinese concept artist

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

People, Way, Communication, Understanding

“To desire friendship is a great fault. Friendship should be a gratuitous joy like those afforded by art or life. We must refuse it so that we may be worthy to receive it; it is of the order of grace.”

Simone Weil (1909–1943) French philosopher, Christian mystic, and social activist

Source: Simone Weil : An Anthology (1986), Love (1947), p. 274

Life, Friendship, Joy

“The story and its analyses are not mirror-opposites of each other. They are not reflections, either one. Criticism indeed is an art, as a story is, but only the story is to some degree a vision; there is no explanation outside fiction for what the writer is learning to do.”

Eudora Welty (1909–2001) American author

On Writing (2002)

Learning

“Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.”

Andy Goldsworthy (1956) British sculptor and photographer

"Residency on Earth" in Art in America (April, 1995)

“I am not speaking, obviously, to the laughing hyenas who enjoy seeing images of the wreckage and snicker good–it–serves–the–Americans–right. I am speaking to those who, though not stupid or evil, are wallowing in prudence and doubt. And to them I say: "Wake up, people. Wake up!!" Intimidated as you are by your fear of going against the current—that is, appearing racist (a word which is entirely inapt as we are speaking not about a race but about a religion)—you don’t understand or don’t want to understand that a reverse–Crusade is in progress. Accustomed as you are to the double–cross, blinded as you are by myopia, you don’t understand or don’t want to understand that a war of religion is in progress. Desired and declared by a fringe of that religion, perhaps, but a war of religion nonetheless. A war which they call Jihad. Holy War. A war that might not seek to conquer our territory, but that certainly seeks to conquer our souls. That seeks the disappearance of our freedom and our civilization. That seeks to annihilate our way of living and dying, our way of praying or not praying, our way of eating and drinking and dressing and entertaining and informing ourselves. You don’t understand or don’t want to understand that if we don’t oppose them, if we don’t defend ourselves, if we don’t fight, the Jihad will win. And it will destroy the world that for better or worse we’ve managed to build, to change, to improve, to render a little more intelligent, that is to say, less bigoted—or even not bigoted at all. And with that it will destroy our culture, our art, our science, our morals, our values, our pleasures… Christ! Don’t you realize that the Osama Bin Ladens feel authorized to kill you and your children because you drink wine or beer, because you don’t wear your beard long or a chador, because you go to the theater or the movies, because you listen to music and sing pop songs, because you dance in discos or at home, because you watch TV, wear miniskirts or short–shorts, because you go naked or half naked to the beach or the pool, because you *** when you want and where you want and who you want? Don’t you even care about that, you fools? I am an atheist, thank God. And I have no intention of letting myself be killed for it.”

Oriana Fallaci book The Rage and the Pride

"Rage and the Pride">Oriana Fallaci - The Rage and the Pride http://www.amazon.co.uk/Rage-Pride-Oriana-Fallaci/dp/084782599X - Universe Publishing; Intl edition, 2002, ISBN 9780847825998

God, War, Children, People

“I have not built any theory. I have only tried to build up sensitive eyes, as my book says. And I have tried to achieve that by aiming at very distinct color relationships again – like how do they influence each other? Change each other in light and in intensity, in transparency, opacity? How do they change each other in all different directions? That we make all the students aware, through experience, that color is the most relative medium in art, and that we never really see what we see. All neighboring means which occur every minute different, not only in changing light but also by our changing moods. And in the end, the study of color again is a study of ourselves.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Books, Color, Mood, Study

“Space and time are the only forms on which life is built and hence art must be constructed… The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art… We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time.”

Naum Gabo (1890–1977) Russian sculptor

As quoted in: Fred Kleiner (2008) Intl Stdt Edition-Gardner's Art Thru/Ages: Globl Hist. Vol.2, p. 949
1918 - 1935, Realistic Manifesto, 1920

Life, World, Time

“Time study is the art of recording, analyzing, and synthesizing the time of the elements of any operation, usually a manual operation, but it has also been extended to mental and machinery operations.
It is one of the many remarkable inventions of Dr. Taylor while he was working at the Midvale Steel Works. It differs from the well-known process of timing the complete operation, as, for instance, the usual method for timing the athlete, in that the timing of time study is done on the elements of the process. Much ridiculous criticism has been put forward by well-meaning but uninformed persons, who claim that timing a worker down to a three hundredth of a minute is unkind, inhuman, and conducive to the worst form of slavery ever known.
On the contrary, obtaining precise information regarding the smallest elements into which an art or a trade can be subdivided, and examining them separately, is the method adopted hi all branches of scientific research.”

Frank Bunker Gilbreth, Sr. (1868–1924) American industrial engineer

Source: Primer of scientific management, 1912, p. 7

Study, Time, Personality

“This death to the logic of emotional commitments of our chance moment in the world of space and time, this recognition of, the shift of our emphasis to, the universal life that throbs and celebrates its victory in the very kiss of our own annihilation, this amor fati, "love of fate," love of the fate that is inevitably death, constitutes the experience of the tragic art…”

Joseph Campbell book The Hero with a Thousand Faces

Source: The Hero with a Thousand Faces (1949), Chapter 2

Love, Life, Death, Fate

“I wanted an art that was faithful to itself [loyal] and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art which in the first place would appear as a representation of the impossible.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Faith, Dreams, Drink, Business

“Whereas it might be erroneous to claim that the literature, art, and music of the Harlem Renaissance revolutionized the practice of democracy in the United States, it would not be an error to point out that the ideas they championed did impact America's understanding, and subsequently its application, of democracy.”

Aberjhani (1957) author

(Author's Note, p. xvii).
Book Sources, Encyclopedia of the Harlem Renaissance (2003)

Music, Error, Democracy, Literature

“Art has poisoned our life. Aesthetics has infected everyone… If one chooses a typewriter or a sewing machine in the living room, the housewife say: 'Please take it away; it destroys the harmony of the room'. Post-cards, stamps, pouches, railway-tickets, pots umbrellas, towels, pyamas, chairs, blankets, handkerchiefs and ties – everything is 'arty'. How much more refreshing are those articles which are not called art: bathrooms, bath-tubs, bicycles, automobiles, engine-rooms and flat-irons. There are still people who can make beautiful things without art. They are the progressives.”

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

Quote of Van Doesburg in his article: 'The end of art'; in 'De Stijl' series XII, 1924-5, pp. 135–136
1920 – 1926

Life, People, Beauty

“Germans have a rather healthy respect for the arts and artists, [could] not be more different from the British perspective.”

Anish Kapoor (1954) British contemporary artist of Indian birth

“Ken Noland has put things in the center [of the painting] and I'll use a symmetric pattern, but we use symmetry in a different way. It's non-relational. In the newer American painting [in contrast to European geometric art] we strive to get the thing in the middle, and symmetrical, but just to get a kind of force, just to get the thing on the canvas. The balance factor isn't important.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 118

Way, Painting

“In art, never try to find out anything, or try to learn anything until the not knowing it has come to be a nuisance to you for some time. Then you will remember it, but not otherwise. Let knowledge importune you before you will hear it. Our schools and universities go on the precisely opposite system.”

Samuel Butler (1835–1902) novelist

Agonising
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

School, Knowledge, Learning, Universe

“Capitalism is an art form.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 38

“He dyed his hair with great art, maintaining enough gray to suggest wisdom, but not so much as to suggest age.”

Michael Flynn book Eifelheim

Source: Eifelheim (2006), Chapter 5 (p. 234)

Wisdom, Age

“Art attests to what is inhuman in man.”

Alain Badiou (1937) French writer and philosopher

Original French: L'art atteste ce qu'il y a d'inhumain dans l'humain.
From Le siècle. Paris: Éditions du Seuil, 2005. ISBN 2020579308.

“It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed."”

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

These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
Page 195
Culture of Complaint (1993)

Life, Death, Money, Fate

“Nordic art casts a spell on the mind which ranges from laughter to tears and from tears to violent rage. One can see how dangerous it is, we can be tyrannized by a cynical person endowed with the power of art. Much has been said about this demonic aspect. In it lies the ultimate demand that the artist must take responsibility for the states of mind that he produces, or at least he must answer for them by knowing them in his own person. This psychic demand in both the artist and the viewer has made Expressionist art so hated by devotees of aestheticism and formalism.”

Asger Jorn (1914–1973) Danish artist

as quoted on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, - Jorn talks about the Nordic concept of Expressionism <br class="br">1959 - 1973, Alpha and Omega', (1963–64)

Hate, Tear, Laughter, Rage

“My works are not just rhetorical, except in the sense that all art is rhetorical. I believe in beauty.”

Gerhard Richter (1932) German visual artist, born 1932

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

Beauty, Sense

“A father is rarely a good teacher; either he thinks he knows things and finds his knowledge to be very slight, or he knows but explains badly, or he is too severe and impatient because teaching bores him, or he is dangerously indulgent because he loves his children too much. It is from professional teachers who have made a success of the art that we must learn its rules. There can be no teaching without discipline. A pupil must first learn to work. Training of the will must precede that of the mind, and this is why home teaching is never very successful. Excuses are too easily accepted: the child has a headache; he has slept badly; there is a party somewhere. A school makes no compromise and that is its virtue. I am inclined to prefer the boarding-school system. It has some serious drawbacks; it sometimes produces immorality and it is always rather severe, but it makes men. The system forces boys to find their own places in a group; in a family they find these places ready-made and it is too easy for them. If absolutely necessary, and if the parents are judicious, day schools are satisfactory up to the age of fifteen or sixteen. For boys between the ages of seventeen and twenty, freedom in a large city is fatal.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Working

Love, Men, Children, Age

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

Music, Painting

“One of the major activities of art consists in sharpening the edge of platitudes to make them enter the soul as realities.”

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

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7

Soul, Reality

“The Pre-Lutheran German Bible. The precise origin of the mediaeval German Bible is still unknown. Dr. Ludwig Keller of Münster first suggested in his Die Reformation und die älteren Reformparteien, Leipzig, 1885, pp. 257-260, the hypothesis that it was made by Waldenses (who had also a Romanic version); and he tried to prove it in his Die Waldenser und die deutschen Bibelübersetzungen, Leipzig, 1886 (189 pages). Dr. Hermann Haupt, of Würzburg, took the same ground in his Die deutsche Bibelübersetzung der mittelalterlichen Waldenser in dem Codex Teplensis und der ersten gedruckten Bibel nachgewiesen, Würzburg, 1885 (64 pages); and again, in self-defense against Jostes, in Der waldensische Ursprung des Codex Teplensis und der vor-lutherischen deutschen Bibeldrucke, Würzburg, 1886. On the other hand, Dr. Franz Jostes, a Roman Catholic scholar, denied the Waldensian and defended the Catholic origin of that translation, in two pamphlets: Die Waldenser und die vorlutherische Bibelübersetzung, Münster, 1885 (44 pages), and Die Tepler Bibelübersetzung. Eine zweite Kritik, Münster, 1886 (43 pages). The same author promises a complete history of German Catholic Bible versions.
The hostility of several Popes and Councils to the circulation of vernacular translations of the Bible implies the existence of such translations, and could not prevent their publication, as the numerous German editions prove. Dutch, French, and Italian versions also appeared among the earliest prints. See Stevens, Nos. 687 and 688 (p. 59 sq.). The Italian edition exhibited in 1877 at London is entitled: La Biblia en lingua Volgare (per Nicolo di Mallermi). Venetia: per Joan. Rosso Vercellese, 1487, fol. A Spanish Bible by Bonif. Ferrer was printed at Valencia, 1478 (see Reuss, Gesch. der heil. Schr. N. T., II. 207, 5th Ed.).
The Bible is the common property and most sacred treasure of all Christian churches. The art of printing was invented in Catholic times, and its history goes hand in hand with the history of the Bible. Henry Stevens says (The Bibles in the Caxton Exhibition, p. 25): ""The secular history of the Holy Scriptures is the sacred history of Printing. The Bible was the first book printed, and the Bible is the last book printed. Between 1450 and 1877, an interval of four centuries and a quarter, the Bible shows the progress and comparative development of the art of printing in a manner that no other single book can; and Biblical bibliography proves that during the first forty years, at least, the Bible exceeded in amount of printing all other books put together; nor were its quality, style, and variety a whit behind its quantity.""”

Philip Schaff (1819–1893) American Calvinist theologian

Roman Catholic rival German versions of the Bible

Hostility, Books, History, Appearance

“Art is thought, and thought only gives the world an appearance of order to anyone weak enough to be convinced by its show.”

Colin Wilson book The Outsider

Source: The Outsider (1956), Chapter one, The Country of the Blind

World, Appearance

“All these troubles revolve around the irritable mutual dependence of life and art – with their need and contempt for one another. Of necessity, to create is a temporary state and cannot be possessed, because you learn and relearn that it is the lie and mask of Art and, too, its mortification, which promise a continuity. There are twenty crucial minutes in the evolution of each of my paintings. The closer I get to that time - those twenty minutes – the more intensely subjective I become – bit the more objective, too. Your eye gets sharper, you become continuously more and more critical. There is no measure I can hold on..”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

Life, Lie, Learning, Time

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Men, People, Health, Truth

“Refinement is a sign of a deficient vitality, in art, in love, and in everything.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

The New Gods (1969)

Love

“We have now in our possession three instruments of civilization, unknown to antiquity. These are the art of printing; free representative government; and, lastly, a pure and spiritual religion, the deep fountain of generous enthusiasm, the mighty spring of bold and lofty designs, the great sanctuary of moral power.”

Edward Everett (1794–1865) American politician, orator, statesman

Edward Everett, reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 141.

Religion, Spring

“I always said God was against art and I still believe it. Anything obscene or trivial is blessed in this world and has a reward – I ask for no reward – only to live & to hear my work.”

Edward Elgar (1857–1934) English composer

Letter to A. J. Jaeger, October 9, 1900.

God, World

“In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 145-146

Children, School, Imagination, Literature

“Is marketing management an art or a science? Some marketing observers maintain that good marketing is more of an art and does not lend itself to rigorous analysis and deliberation. Others strongly disagree and contend that marketing management is a highly disciplined enterprise that has much in common with other business disciplines.”

Philip Kotler (1931) American marketing author, consultant and professor

Philip Kotler, Kevin Lane Keller, Mairead Brady, Malcolm Goodman & Torben Hansen. (2009). Marketing Management. p. 819

Business, Science

“I work obstinately, and once in a while I catch a glimpse of the Promised Land. Am I to be like the great leader of the Hebrews, or will I really attain unto it?.. I have a large studio in the country. I can work better there than in the city. I have made some progress. Oh, why so late and so painful? Must art indeed be a priesthood, demanding that the faithful be bound to it body and soul?”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Vollard - Aix, 9 January, 1903; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 103
Quotes of Paul Cezanne, after 1900

Pain, Faith, Soul, Country

“All writing, all art, is an act of faith. If one tries to contribute to human understanding, how can that be called decadent? It's like saying a declaration of love is an act of decadence. Any work of art, provide it springs from a sincere motivation to further understanding between people, is an act of faith and therefore is an act of love.”

Truman Capote (1924–1984) American author

From a 1952 interview
Truman Capote: Conversations (1987)

Love, People, Faith, Spring

“One must beware of a formula good for everything, that will serve to interpret the other arts as well as reality, and that instead of creating will only produce a style, or rather a stylization.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1908 - 1920, quotes from Artists on Art...(1972), p. 422 - Braque's quote, Paris 1917

Reality

“The fate of our times is characterized by rationalization and intellectualization and, above all, by the disenchantment of the world. Precisely the ultimate and most sublime values have retreated from public life either into the transcendental realm of mystic life or into the brotherliness of direct and personal human relations. It is not accidental that our greatest art is intimate and not monumental.”

Max Weber (1864–1920) German sociologist, philosopher, and political economist

"Science as a Vocation" (1917)

Life, Fate, World, Time

“In combination with other infernal contraptions, like rockets to deliver bombs at large distances, chemical, biological and radioactive poisons, such a war must mean a degree of human suffering and degradation which is beyond the power of imagination. No country would be immune, but those with highly developed industry would suffer most. It is very doubtful whether our technological civilization would survive such a catastrophe.
One may be inclined to regard this as no great loss, but as a just punishment for its shortcomings and sins: the lack of productive genius in art and literature, the neglect of the moral teachings of religion and philosophy, the slowness to abandon outdated political conceptions, like national sovereignty. Yet we are all involved in this tragedy, and the instinct of self-preservation, the love of our children, makes us think about a way of salvation.”

Max Born (1882–1970) physicist

Physics in my generation (1956)

Love, War, Children, Religion

“…grandees pay for a work of art considerably under its value, and according to their own caprice. … When an Omrah or Mansabdar requires the services of an artisan, he sends to the bazar for him, employing force, if necessary, to make the poor man work; and after the task is finished, the unfeeling lord pays, not according to the value- of the labour, but agreeably to his own standard of fair remuneration; the artisan having reason to congratulate himself if the Korrah has not been given in part payment.”

François Bernier (1620–1688) French physician and traveller

François Bernier, quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7
Travels in the Mogul Empire (1656-1668)

Parting

“In 1968 Ian Wilson made his final sculpture. Since then, he has explored the idea of oral communication as an art form… Wilson’s work is very hard to track down, even in terms of documentation. He has been compared to the Socratic philosophers but if there is a similarity between his practice and theirs, it probably lies mainly in the fact that everything we have from that period of philosophy takes the form of secondary fragments embedded in other texts. Wilson’s work functions almost like archaeological or geological evidence: it consists of objects that we examine in order to deduce, from scanty clues, what must have happened.”

Edward Allington (1951–2017) sculptor

Edward Allington. " About Time http://www.frieze.com/issue/article/about_time/," in Frieze, Issue 92 June-August 2005

Communication, Idea

“Painting is the magic art, the fire set alight on the windows of the rich dwelling, as on those of the humble hovel, from the last rays of the setting sun, it is the long mark, the humid mark, the fluent and still mark that the dying wave etches on the hot sand, it is the darting of the immortal lizard on the rock burnt by the midday heat, it is the rainbow of conciliation, on sad May afternoons, after the storm has passed, down there, making a dark backdrop to the almond trees in flower, to the gardens with their washed colours, to the ploughmen's huts, smiling and tranquil, it is the livid cloud chased by the vehement blowing of Aeolus enraged, it is the nebulous disk of the fleeting moon behind the ripped-open funereal curtain of a disturbed sky in the deep of night, it is the blood of the bull stabbed in the arena, of the warrior fallen in the heat of battle, of Adonis' immaculate thigh wounded by the obstinate boar's curved tusk, it is the sail swollen with the winds of distant seas, it is the centuries-old tree browned in the autumn..”

Giorgio de Chirico (1888–1978) Italian artist

Quote from the first lines in De Cirico's essay 'Painting', 1938; from http://www.fondazionedechirico.org/wp-content/uploads/211_Painting_1938_Metaphysical_Art.pdf 'Painting', 1938 - G. de Chirico, presentation to the catalogue of his solo exhibition Mostra personale del pittore Giorgio de Chirico, Galleria Rotta, Genoa, May 1938], p. 211
1920s and later

Sadness, Smile, Flowers, Autumn

“There is no more sombre enemy of good art than the pram in the hall.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 14: The Charlock’s Shade (p. 116)

“On May 17, 1969, a show which was to become the seminal exhibition of video art in the U. S. opened at the Howard Wise Gallery in New York City. That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool. Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form. In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

Music, Communication, Idea, Optimism

“Painting is the most beautiful of all arts. In it, all sensations are condensed, at its aspect everyone may create romance at the will of his imagination, and at a glance have his soul invaded by the most profound memories, no efforts of memory, everything summed up in one moment. Complete art which sums up all the others and completes them. Like music, it acts on the soul through the intermediary of the senses, the harmonious tones corresponding to the harmonies of sounds, but in painting, a unity is obtained which is not possible in music, where the accords follow one another, and the judgement experiences a continuous fatigue if one wants to reunite the end and the beginning. In the main, the ear is an inferior sense to the eye. The hearing can only grasp a single sound at one time, whereas the sight takes in everything and at the same time simplifies at its will.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

La peinture est le plus beau de tous les arts; en lui se résument toutes les sensations, à son aspect chacun peut, au gré de son imagination, créer le roman, d'un seul coup d'œil avoir l'âme envahie par les plus profonds souvenirs; point d'effort de mémoire, tout résumé en un seul instant. — Art complet qui résume tous les autres et les complète. — Comme la musique, il agit sur l'âme par l'intermédiaire des sens, les tons harmonieux correspondant aux harmonies des sons; mais en peinture on obtient une unité impossible en musique où les accords viennent les uns après les autres, et le jugement éprouve alors une fatigue incessante s'il veut réunir la fin au commencement. En somme, l'oreille est un sens inférieur à celui de l'œil. L'ouïe ne peut servir qu'à un seul son à la fois, tandis que la vue embrasse tout, en même temps qu'à son gré elle simplifie.
Quote of Gauguin from: Notes Synthéthiques (ca. 1884-1885), ed. Henri Mahaut, in Vers et prose (July-September 1910), p. 52; translation from John Rewald, Gauguin (Hyperion Press, 1938), p. 161.
1870s - 1880s

Beauty, Music, Soul, Imagination

“Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting. Dada knows the correct measure that should be given to art: with subtle, perfidious methods, Dada introduces it into daily life. And vice versa. In art, Dada reduces everything to an initial simplicity, growing always more relative. It mingles its caprices with the chaotic wind of creation and the barbaric dances of savage tribes. It wants logic reduced to a personal minimum.”

Tristan Tzara (1896–1963) Romanian and French avant-garde poet, essayist and performance artist

1920s, Lecture on Dada', 1922

Life, People, Universe, Dance

“Principles heretofore unknown, signifying the emergence of a new era in creative work - an era of purely artistic achievements. An era of the final emancipation of the Great Art of Painting from Literary, Social, and crudely everyday attributes uncharacteristic of it at its core. The elaboration of this valuable world outlook is the service of our times, irrespective of idle speculation about how quickly the individual trends created by it will flash by.”

Olga Rozanova (1886–1918) Russian artist

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), pp. 20-21; as quoted by Svetlana Dzhafarova, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932 (transl. Jane Bobko); Guggenheim Museum, New York, 1992, p. 477

World, Time, Painting

“The term "instrumentalism," which has largely superseded the broader term "pragmatism," emphasizes the subordination of the intellect to ends beyond itself. But the organic analogy does in fact point to quite a different conclusion. Most organic functions are interested in their own behalf. I may even breathe for the sake of breathing. I may identify my soul with my lungs. … Or consider the predatory instinct. This evidently has its place in the economy of life by virtue of providing food for carnivorous animals; but hunting is also an art and a pastime, which many have thought worth cultivating as an end in itself. What is true of respiration and huntsmanship can scarcely be denied of an activity so developed, so varied, so self-conscious, as that of the intellect. Nor in this case any more than the others, does the subordinate role contradict the autonomous role. The devotee of breathing or of hunting need not cease to breathe or hunt for vital purposes; nor need the intellectualist, the scientist, the speculative philosopher, because he has cultivated the art of knowing for its own sake, therefore cease to use his mind for the conduct of affairs.”

Ralph Barton Perry (1876–1957) American philosopher

The Integrity of the Intellect (July 1920)

Life, Food, Soul, Animals