Quotes about art
page 46

“The art here does not exist to define conversations or generate dogma, it is here to open up conversations.”

Jacek Tylicki (1951) American artist

In Catalogue introduction to Dublin Biennial, 2012

“The focus of prayer is not the self. … It is the momentary disregard of our personal concerns, the absence of self-centered thoughts, which constitute the art of prayer. Feeling becomes prayer in the moment in which we forget ourselves and become aware of God. … Thus, in beseeching Him for bread, there is one instant, at least, in which our mind is directed neither to our hunger nor to food, but to His mercy. This instant is prayer. We start with a personal concern and live to feel the utmost.”

Abraham Joshua Heschel (1907–1972) Polish-American Conservative Judaism Rabbi

As quoted in Judaism (1998) by Arthur Hertzberg, p. 300
Variant: "It is the momentary disregard of our personal concerns, the absence of self-centered thoughts, which constitute the act of prayer."

Hunger, God, Food, Feeling

“He was truly after an art in which the creator could be as intelligent as he liked, but in which intelligence must be transmuted entirely into form, so that no lumps of thinking are left showing.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"Ernest Hemingway" (1977), p. 240
The Good Word & Other Words (1978)

Intelligence, Thinking

“As they say, art is pleasure, invention is treasure, and this nation has got to recognise that. If they can spend a fortune on dead sheep and formaldehyde, then it can spend a bit more of that money on inventors.”

Trevor Baylis (1937–2018) English inventor

Cited in: Jonathan Sutherland, ‎Diane Canwell (2008), Essential Business Studies A Level: AS Student Book for AQA. p. 23

Money, Pleasure, Dead

“A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.”

L. P. Jacks (1860–1955) British educator, philosopher, and Unitarian minister

Misattributed to Chateaubriand on the internet and even some recently published books, this statement actually originated with L. P. Jacks in Education through Recreation (1932)
Misattributed

Education, Appearance, Drawing

“It has been accepted now that the joy of art is the heritage of all and aesthetic activity and appreciation are indispensable aids in the enrichment and refinement of the human soul in general. Art refines our inner as well as our physical life and provides that satisfaction and joy which acquisitions and activities on a merely material plane can never give. As Nachiketa said, na vittena tarpaniyo manushyo. In other words, man does not live by bread alone. Music and dance, among the arts, have always had a high place in Indian aesthetics. They are conceived as having their origin in the Divine, which is itself described the Upanishads as the quintessence of aesthetic pleasure raso vai sah.”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Our arts embody the deepest experience and wisdom of mankind, and they have a spiritual import and purpose.
During another lecture in Madras (now Chennai) based on his experience in Music having composed a number of kirtans on “Devi” . Quoted in "Jayachamaraja Wodeyar – A Princely scholar".

Life, Wisdom, Pleasure, Music

“I would say that I was just as anxious to leave Utah as any other kid in any other part of the world wants to get out of where they're from. It's definitely a hard place, especially if you're an artist. There's not much support for art, especially rock 'n' roll music. It wasn't really about escaping Utah, though. It was about getting out and being able to do what I wanted to do with my whole life. And now I am.”

Bert McCracken (1982) American musician

Daniel Durchholz (March 10, 2005) "Top billing at Taste of Chaos: Can the Used get used to this?", St. Louis Post-Dispatch, p. 16.

Life, World, Music, Support

“Weep not, my wanton, smile upon my knee;
When thou art old there’s grief enough for thee.”

Robert Greene (dramatist) (1558–1592) English author

"Sephestia's Song to her Child", line 1, from Menaphon (1589); Dyce p. 286.

Smile

“Opponents of the New Art fall back on this calculation, rejecting its self-sufficient meaning and, having declared it 'Transitional,' being unable even to understand properly the conception of this Art, lumping together Cubism, Futurism, and other phenomena of artistic life, not ascertaining for themselves either their essential differences or the shared tenets that link them.”

Olga Rozanova (1886–1918) Russian artist

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), p. 18; 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
Olga Rozanova accused the critics and their brethren of bad faith, citing as a prime example Aleksandr Benua's "Kubizm ili Kukishizm" ("Cubism or Je-m'en-foutisme"), a scathing 1912 review

Life, Understanding, Future

“He had not remembered her name, but he had seen her dance — had been carried away and fascinated by the supreme art that can make you forget art.”

Agatha Christie book The Labours of Hercules

The Labours of Hercules (1967)

Dance, Forgetting

“Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked, swapped over, turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor, he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman, and avails himself of a fool′s privileges, which is probably not without significance for sensible people. Old art forms seek to reconstruct reality, total actions unfold within reality itself. Total actions are direct occurrences(direct art), not the repetition of an occurrence, a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 166 (1966/1972)

People, Food, Fools, Music

“Let a man get once fairly possessed of any peculiar notion, whether it be on religion, political economy, morals, politics, arts, or anything else, and he sees little beside his beloved principle, which he is at all times ready to advance, defend, demonstrate, or expatiate on. Nothing can be simpler than the two great dogmas of Christianity, which are so plain that all can both comprehend them and feel their truth. They teach us to love God, the surest way to obey him, and to love our neighbor as ourselves. Any one can understand this; all can see how just it is, and how much of moral sublimity it contains. It is Godlike, and brings us near the very essence of the Divinity, which is love, mercy, and truth. Yet how few are content to accept the teachings of the Saviour in this respect, without embarrassing them with theories that have so much of their origin in human fancies.”

James Fenimore Cooper (1789–1851) American author

Source: Oak Openings or The bee-hunter (1848), Ch. XVI

Love, God, Truth, Religion

“The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.”

Whitney Chadwick (1943)

Women, Art, and Society: Fourth Edition (2007) ISBN 0-500-20393-8

History

“Everything written about art is profoundly unimportant.”

Patrick Swift (1927–1983) British artist

The Artist Speaks (1951)

“It's a turn-around jump-shot,
It's everybody jump-start, it's,
Every generation throws a hero up the pop-charts,
Medicine is magical and magical is art,
Think of the boy in the bubble and the baby with the baboon heart…”

Paul Simon (1941) American musician, songwriter and producer

The Boy In The Bubble
Song lyrics, Graceland (1986)

Boy, Thinking, Heart, Baby

“… And this is the origin of pop music: it's a professional music which draws upon both folk music and fine arts music as well.”

Pete Seeger (1919–2014) American folk singer

Pop Chronicles, Show 1 - Play A Simple Melody: Pete Seeger on the origins of pop music http://digital.library.unt.edu/ark:/67531/metadc19745/m1/, interview recorded 2.14.1968 http://web.archive.org/web/20110615153027/http://www.library.unt.edu/music/special-collections/john-gilliland/o-s.

Music, Drawing

“There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people.”

Asger Jorn (1914–1973) Danish artist

Variant translations:
What we possess and what gives us strength is our joy in life, our interest in life in all its amoral facets. This is also the foundation for today's art. We do not even know the aesthetic laws.
We are not disillusioned because we have no illusions; we have never had any. What we have, and what constitutes our strength, is our joy in life, in all of its moral and amoral manifestations.
1940 - 1948, Intimate Banalities' (1941)

Life, People, World, Law

“We [Hans Arp and Sophie Taeuber ] painted embroidered and made collages. All these works were drawn from the simplest forms and were probably the first examples of concrete art. These works are realities pure and independent with no meaning or cerebral intention. We rejected all mimesis and description, giving free reign to the elementary and spontaneous.”

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

Arp's quote, on the cooperation with his future wife Sophie Taeuber ca. 1916; as quoted in: Abstract Art, Anna Moszynska, Thames and Hudson, London, 1990, p. 65
1910-20s

Reality, Painting

“I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), pp. 83-84.

War, Beauty, Intelligence, Communication

“One man I know, and one only, who can be praised for his achievements in this science. Of discourses and battles of words he takes no heed: he follows the works of wisdom, and in these finds rest. What others strive to see dimly and blindly, like bats in twilight, he gazes at in the full light of day, because he is a master of experiment. Through experiment he gains knowledge of natural things, medical, chemical, indeed of everything in the heavens or earth. He is ashamed that things should be known to laymen, old women, soldiers, ploughmen, of which he is ignorant. Therefore he has looked closely into the doings of those who work in metals and minerals of all kinds; he knows everything relating to the art of war, the making of weapons, and the chase; he has looked closely into agriculture, mensuration, and farming work; he has even taken note of the remedies, lot casting, and charms used by old women and by wizards and magicians, and of the deceptions and devices of conjurors, so that nothing which deserves inquiry should escape him, and that he may be able to expose the falsehoods of magicians. If philosophy is to be carried to its perfection and is to be handled with utility and certainty, his aid is indispensable. As for reward, he neither receives nor seeks it. If he frequented kings and princes, he would easily find those who would bestow on him honours and wealth. Or, if in Paris he would display the results of his researches, the whole world would follow him. But since either of these courses would hinder him from pursuing the great experiments in which he delights, he puts honour and wealth aside, knowing well that his wisdom would secure him wealth whenever he chose. For the last three years he has been working at the production of a mirror that shall produce combustion at a fixed distance; a problem which the Latins have neither solved nor attempted, though books have been written upon the subject.”

Roger Bacon book Opus Tertium

Bridges assumes that Bacon refers here to Peter Peregrinus of Maricourt. Source: Opus Tertium, c. 1267, Ch. 13 as quoted in J. H. Bridges, The 'Opus Majus' of Roger Bacon (1900) Vol.1 http://books.google.com/books?id=6F0XAQAAMAAJ Preface p.xxv

Wisdom, Women, War, Books

“At an unknown hour, from a source that is still sealed to us, but inexorable, the Work comes into the world. Cold calculations, splashes leaping up without plan, mathematically accurate construction (laid bare or concealed) silent, screaming drawing, scrupulous finish, colour in fanfares or played pianissimo on the strings, large, serene, cradling, fragmented planes. Isn’t that a Form? Aren't those the means?
Suffering, seeking, tormented souls with a deep fissure, caused by the collision of the spiritual with the material... Shame on him who turns his soul's ear away from the mouth of art. A human being speaks to human beings about the superhuman – the language of art.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, from the catalog of the second exhibition of the 'Neue Künstlervereinigung', München, August, 1910; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 95
1910 - 1915

World, Soul, Mathematics, Suffering

“Art is not life, but in a sense something contrary to life, since life is transient and changing, while art is permanent.”

Daniel Bell book The Cultural Contradictions of Capitalism

Source: The Cultural Contradictions of Capitalism (1976), Chapter 3, The Sensibility of the Sixties, p. 124

Life, Sense, Change

“Rather than programming children as if they were computers, parents should be something like art instructors. Because life is like a clump-of-clay, you can’t make it into an expression of beauty, unless you take it into your hands. While sprinkling their lives with painful and playful diversions, people wait their lives miserably into old age, for the skills to live-life, to–come as did life- itself.”

Eugene J. Martin (1938–2005) American artist

Annotated Drawings by Eugene J. Martin: 1977-1978

Life, Pain, Children, People

“The museums are here to teach the history of art and something more as well, for, if they stimulate in the weak a desire to imitate, they furnish the strong with the means of their emancipation.”

Edgar Degas (1834–1917) French artist

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

History, Strong

“There is no "scientific worldview" just as there is no uniform enterprise "science"- except in the minds of metaphysicians, school masters, and scientists blinded by the achievements of their own particular niche… There is no objective principle that could direct us away from the supermarket "religion" or the supermarket "art" toward the more modern, and much more expensive supermarket "science." Besides, the search for such guidance would be in conflict with the idea of individual responsibility which allegedly is an important ingredient of a "rational" or scientific age.”

Paul Karl Feyerabend (1924–1994) Austrian-born philosopher of science

Pg 159.
Conquest of Abundance (2001 [posthumous])

Age, School, Religion, Search

“An artistic impression is substantially the resultant of two components. One what the work of art gives the onlooker — the other, what he is capable of giving to the work of art.”

Arnold Schoenberg (1874–1951) Austrian-American composer

"An Artistic Impression" (1909) in Style and Idea (1985), p. 189
1900s

“I saw my first Henry Darger collage/paintings in the early 1980’s when the tale of Henry’s life was just emerging through rumor and scattered fragments of his book. He lived and died a recluse in Chicago where no one knew of his writings or paintings. There was a folk art gallery in New Orleans that had acquired a small pile of Realms of the Unreal illustrations. I was on tour with REM at the time, Michael Stipe and I visited the gallery where we had a first look at these images of seven little horrified girls pursued by a purple and orange winged cats or evil professors on horseback or resting peacefully under giant sunflowers. I was completely captivated and intrigued.”

Natalie Merchant (1963) American singer-songwriter

Quotes from NatalieMerchant.com

Life, Books, Girl, Cats

“Turner did not talk well, and never talked of his own art, or of the art of others.”

Charles Robert Leslie (1794–1859) British painter (1794-1859)

Autobiographical Recollections of C. R. Leslie with Selections from his correspondence

“My Song, I fear that thou wilt find but few
Who fitly shalt conceive thy reasoning,
Of such hard matter dost thou entertain;
Whence, if by misadventure, chance should bring
Thee to base company (as chance may do),
Quite unaware of what thou dost contain,
I prithee, comfort thy sweet self again,
My last delight! tell them that they are dull,
And bid them own that thou art beautiful.”

Percy Bysshe Shelley Epipsychidion

Dedication
Epipsychidion (1821)

Fear, Beauty, Chance

“It is well to start by distinguishing the few really great – the major novelists who count in the same way as the major poets, in the sense that they not only change the possibilities of the art for practitioners and readers, but that they are significant in terms of the human awareness they promote; awareness of the possibilities of life.”

F. R. Leavis book The Great Tradition

The Great Tradition: George Eliot, Henry James, Joseph Conrad (London: Chatto & Windus, 1948) p. 2

Life, Way, Sense, Change

“The art of programming is the art of organizing complexity, of mastering multitude and avoiding its bastard chaos as effectively as possible.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (1970) " Notes On Structured Programming http://www.cs.utexas.edu/users/EWD/ewd02xx/EWD249.PDF" (EWD249), Section 3 ("On The Reliability of Mechanisms"), p. 7. 1970s

“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.”

Kevin Lane Keller (1956) American business theorist

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

Business, Science

“w:Donatello's art does not come out of nature, it belongs to the studio. He exaggerates to make it lifelike. His weeping children grimace frightfully... When movement is excessive it is frozen: it no longer represents life.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 408

Life, Children, Nature

“Whatever Hitler may ultimately prove to be, we know what Hitlerism has come to mean, It means naked, ruthless force reduced to an exact science and worked with scientific precision. In its effect it becomes almost irresistible.
Hitlerism will never be defeated by counter-Hitlerism. It can only breed superior Hitlerism raised to nth degree. What is going on before our eyes is the demonstration of the futility of violence as also of Hitlerism.
What will Hitler do with his victory? Can he digest so much power? Personally he will go as empty-handed as his not very remote predecessor Alexander. For the Germans he will have left not the pleasure of owning a mighty empire but the burden of sustaining its crushing weight. For they will not be able to hold all the conquered nations in perpetual subjection. And I doubt if the Germans of future generations will entertain unadulterated pride in the deeds for which Hitlerism will be deemed responsible. They will honour Herr Hitler as genius, as a brave man, a matchless organizer and much more. But I should hope that the Germans of the future will have learnt the art of discrimination even about their heroes. Anyway I think it will be allowed that all the blood that has been spilled by Hitler has added not a millionth part of an inch to the world’s moral stature.”

Mahatma Gandhi (1869–1948) pre-eminent leader of Indian nationalism during British-ruled India

Harijan (22 June 1940), after Nazi victories resulting in the occupation of France.
1940s

Pleasure, World, Hope, Thinking

“The art of substantiating shadows, and of lending existence to nothing.”

Edmund Burke (1729–1797) Anglo-Irish statesman

Burke's description of poetry, quoted from his conversation in Prior's Life of Burke
Undated

“There was one artist who wrote as beautifully as he painted. That was Hokusai - He speaks for all artists, whether they are painters or not. [He wrote]: "I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy three I have at last caught every aspect of nature-birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further. And I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime, and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life."”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love, Life, Secret, Age

“"… Mani Madhava Chakyar, the overarching titan of 20th-century Koodiyattam, whose histrionic powers and focused scholarship eventually gave his art world-wide audience (and a Unesco recognition)"
- "The New Indian Express (2011)"”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya

World

“We have no architecture to work from at all; indeed, we have not even settled the point de depart… our art… is domestic, and… the best way of advancing its progress is to do our best in our own houses… if we once manage to obtain a large amount of art and colour in our sitting-rooms… the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 91-92; Cited in: "William Burges 1827-1881 London Architect" in: In Pursuit of Beauty: Americans and the Aesthetic Movement http://books.google.com/books?id=56F8Qv96FzwC&pg=PA406. Metropolitan Museum of Art, 1 jan. 1986. p. 405

Way, Housing

“Thou art I, I am Thou,
Knowing, Knower, Known, as One!”

Paramahansa Yogananda (1893–1952) Yogi, a guru of Kriya Yoga and founder of Self-Realization Fellowship

Songs of the Soul by Paramahansa Yogananda, Quotes drawn from the poem "Samadhi"

“Constantius declares a curse on those who perform the magic arts and thereby “jeopardize the lives of innocent persons.””

Constantius II (317–361) Roman emperor

CT 9.16.5 released 4 December 356
Codex Theodosianus

Personality

“Whether the French were better colonists than the British is an academic question, but at least such Frenchmen as were planting in Malaya (Pierre Boulle, for instance, and Henri Fauconnier) were kept sane by their own culture and some of them (those two, anyway) produced memorable novels based on their Malayan experiences. The British were mostly philistines, and they left behind a heritage of philistinism. Kampung culture is dying, and a metropolitan culture of art galleries and orchestras seems unlikely to arise. What there is, and flourishing too, is a materialist consumerism that is threatened from the north by the communists and from the west by the militant Islam of the ayatollahs. Mr Butcher’s book deals with a race of people who may well be surveyed in terms of anthropological generalities. There was no room for the brilliant or the eccentric. British Malaya was created by courageous and suffering mediocrities. The building of Singapore in 1819 was a rather different affair.”

Anthony Burgess (1917–1993) English writer

"White Men Sweating" - review of The British in Malaya 1880-1941: The Social History of a European Community in Colonial South-East Asia, by John G. Butcher.
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

People, Books, Courage, Question

“In the office there are about fifteen people whose attention is directed toward a table covered with the costly fabric [raw cotton]; one man is bent over the table and another is sort of seating on it – the buyer and the broker are discussing a sample. A painting of a vernacular subject, if there is such a thing, and I think by a better hand than most others (a size 40 canvas, I think). I'm planning another less complicated and more surprising yet, better art, in which everyone is in summer dress, the walls white, and a sea of cotton on the tables. (translation based on M. Kay's, in M. Gérin [ed. ] and M. Kay, transl. 'Degas letters', Oxford, 1947, pp. 29-30, no. 2”

Edgar Degas (1834–1917) French artist

Quote in Gegas letter to his friend James Tissot, New Orleans, 18 February 1873; as quoted in 'Impressionism: A Centenary Exhibition', Anne Distel, Michel Hoog, Charles S. Moffett, the Metropolitan Museum of Art, (New York, N.Y.) 1975, p. 99 Degas is referring to his painting 'Cotton Merchants in New Orleans' [Cotton Merchants in New Orleans https://www.harvardartmuseums.org/art/299832, (1873) 1855 - 1875

People, Thinking, Summer, Painting

“The art of advertisement, after the American manner, has introduced into all our life such a lavish use of superlatives, that no standard of value whatever is intact.”

Wyndham Lewis (1882–1957) writer and painter

"'Promise' as an Institution", in The Doom of Youth (London: Chatto & Windus, 1932).

Life

“One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist’s power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life... In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 46
Search for the Real and Other Essays (1948)

Life, Color, Way, Feeling

“And art puts us, I believe, in a state of grace in which we experience a universal emotion in an, as it were, religious but in the same time perfectly natural way. General harmony, such as we find in colour, is located all around us.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 151, in: 'What he told me – I. The motif'

Way, Nature, Universe, Time

“Aviation seems almost a gift from heaven to those Western nations who were already the leaders of their era, strengthening their leadership, their confidence, their dominance over other peoples. It is a tool specially shaped for Western hands, a scientific art which others only copy in a mediocre fashion; another barrier between the teeming millions of Asia and the Grecian inheritance of Europe — one of those priceless possessions which permit the White race to live at all in a pressing sea of Yellow, Black, and Brown.”

Charles Lindbergh (1902–1974) American aviator, author, inventor, explorer, and social activist

Aviation, Geography, and Race (1939)

People, Confidence, Fashion, Sea

“Arts and sciences are not cast in a mould, but are formed and perfected by degrees, by often handling and polishing, as bears leisurely lick their cubs into form.”

Michel De Montaigne book Essays

Book II, Ch. 12. Apology for Raimond Sebond
Essais (1595), Bartlett's Familiar Quotations, 10th ed. (1919)

Science, Perfection

“.. the universal cannot be expressed purely so long as the particular obstructs the path. Only when this is no longer the case can the universal consciousness (intuition, that is) which is at the origin of all art, be rendered directly, giving birth to a purified art expression.
This, however, cannot appear before its proper time. For it is the spirit of the times that determines artistic expression, which, in turn, reflects the spirit of the times. But at the present moment, that form of art alone is truly alive which expresses our present - or future - consciousness.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Birth, Universe, Appearance, Time

“And so I have conceived that the news, properly presented, should be a sort of cross-section of the character of current human experience. It should delineate character, quality, tendencies and implications. In this way the reporter exercises his genius. Out of the current events he does not make a drab and sordid story, but rather an informing and enlightened epic. His work becomes no longer imitative, but rises to an original art.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Press Under a Free Government (1925)

Way, Exercises

“Hephaistos bears in Homer the double stamp of a Nature-Power, representing the element of fire, and of an anthropomorphic deity who is the god of art at a period when the only fine art known was in works of metal produced by the aid of fire.”

William Ewart Gladstone (1809–1898) British Liberal politician and prime minister of the United Kingdom

Jeventus Mundi: The Gods and Men of the Heroic Age (1870) p. 289. https://archive.org/stream/juventusmundigod00glad_1#page/288/mode/2up 1870s

God, Nature

“My theory has been to discover the modern synthesis by methods based upon science, methods based upon the theory of colors discovered by M. Chevreul, in conformity with the experiments of Maxwell and the measurements of N. 0. Rood; to substitute the optical mingling for the mingling of pigments; in other words, the decomposition of all the colors into their constituent elements; because the optical mingling excites much more intense luminosity than the mingling of pigments. As for the execution, we regard it as nothing; it is at any rate only unimportant, art having nothing to do with it. According to us, the sole originality consists in the character of the drawing and the vision individual to each artist.”

Camille Pissarro (1830–1903) French painter

Quote in a letter, circa 1886-87; as quoted in Brush and Pencil, Vol. XIII, no. 6 , article: 'Camille Pissarro' Impressionist', by Henry G. Stephens; March, 1904, pp. 414-15
1880's

Color, Science, Drawing

“It is obvious that teaching is a very special art, sharing with only two other arts, agriculture and medicine, an exceptionally important characteristic A doctor may do many things for his patient, but in the final analysis, it is the patient himself who must get well, grow in health. The farmer does many things for his plants or animals, but in the final analysis, it is they that must grow in size and excellence. Similarly, although the teacher may help his student in many ways, it is the student himself who must do the learning. Knowledge must grow in his mind if learning is to take place.”

Mortimer J. Adler book How to Read a Book

Source: How to Read a Book (1940, 1972), p. 12

Health, Way, Knowledge, Learning

“Exploring maps as representation forges important links between cartography and a variety of cognate fields concerned with this topic in its various facets (including geographical information systems [GIs] and remote sensing, as well as art, cognitive science, sociology, cognitive and environmental psychology, semiotics, and even the history and philosophy of science).”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 1

History, Sense, Science

“He [the Dalai Lama] asked me for my participation and I rejected the plan to make a kind of sculpture there in this old way, to make in a kind of special place this special modern sculpture. I told him that my idea would be this time to plant seven thousand oaks in Kassel, seven thousand trees. And to mark every tree with a little stone, so that everybody after three, two, five or six hundred years can still see that in 1982 there was an activity. After the radical destruction of the forests here in Germany for all this technological nonsense, that there was an impulse that came in the same time, to plant seven thousand oaks. This is such a kind of activity during the Documenta [in Kassel], that has to do with the 'Documenta', but is a real other thing in the conventional understanding of art.”

Joseph Beuys (1921–1986) German visual artist

Source: 1980's, Interview with Louwrien Wijers, 1981, p. 185 - Beuys' statement on planting seven thousand oaks in Kassel, in 'Joseph Beuys and the Dalai Lama'

Way, Idea, Understanding, Tree

“With the rise of Technopoly, one of those thought-worlds disappears. Technopoly eliminates alternatives to itself in precisely the way Aldous Huxley outlined in Brave New World. It does not make them illegal. It does not make them immoral. It does not even make them unpopular. It makes them invisible and therefore irrelevant. And it does so by redefining what we mean by religion, by art, by family, by politics, by history, by truth, by privacy, by intelligence, so that our definitions fit its new requirements. Technopoly, in other words, is totalitarian technocracy.”

Neil Postman (1931–2003) American writer and academic

Technopoly: the Surrender of Culture to Technology (1992)

Truth, World, Family, Religion

“Do you know there’s a wonderful Christian idea in which Thomas stretches his hands out to try to touch Christ’s wound and Christ says ‘Noli me tangere’ (do not touch me). What your eyes see your hands will always try to affirm. Much of dealing with the non-material is about this confusion between the hand and the eye, the ear and the eye, when the thing that you look at is uncertain, your body demands a kind of readjustment, it demands certainty. Something happens to where you are, to space; time changes. Time, I think, becomes slower. The mystical truth of art is time.”

Anish Kapoor (1954) British contemporary artist of Indian birth

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

Truth, Idea, Thinking, Change

“I have a particular interest in corporations that give themselves a cultural aura and are in other areas suspect. Philip Morris presents itself in New York as the lover of culture while it turns out that if you look behind the scenes, it is also a prime funder of Jesse Helms, someone who is very hostile to the arts.”

Hans Haacke (1936) conceptual political artist

Hans Haacke in: Roberta Smith "A Giant artistic Gibe at Jesse Helms," in New York Times, April 20, 1990; Republished in: The New York Times Guide to the Arts of the 20th Century: 1900-1929, (2002) p. 2929
1990s

Hostility, Lovers

“Like art, science is born of itself, not of nature. There is no neutral naturalism. The artist, no less than the writer, needs a vocabulary before he can embark on a 'copy' of reality.”

Ernst Gombrich (1909–2001) art historian

E. H. Gombrich (1962), quoted in: Robert Maxwell Young. Mind, Brain, and Adaptation in the Nineteenth Century, 1970. p. 101.

Nature, Reality, Science

“It is important, then, to see confirmation, or the validation of one’s constructs, as securing a base upon which one can build major revisions of [one’s] construct system. This is why we so often cite security as necessary for broad advancement, whether in a person or in society. This is why the arts and sciences flourish at a higher level when nations and people are led to believe they are on the right track.”

George Kelly (psychologist) (1905–1967) American psychologist and therapist

Source: The function of interpretation in psychotherapy. 1959, p. 21

People, Science, Personality

“Corruption is the enemy of development. It must be got rid of. Both the government and the people at large must come together to achieve this national objective. You have always shown an ability to understand events happening around you; expressed your views and I am sure you will not fail in building a strong, progressive, cohesive and corruption-free India. These are totally unacceptable and must be opposed by one and all. The government, social organizations, NGOs and other voluntary bodies all have to work collectively. Therefore, their issues received my constant attention during my Presidency. Women have talent and intelligence but due to social constraints and prejudices, it is still a long distance away from the goal of gender equality. A paradigm shift, where, in addition to, physical inputs for farming, a focused emphasis placed on knowledge inputs, can be a promising way forward. This knowledge-based approach will bring immense returns particularly in rainfed and dryland farming areas. I believe economic growth should translate into the happiness and progress of all. Alongwith it, there should be development of art and culture, literature and education, science and technology. We have to see how to harness the many resources of India for achieving common good and for inclusive growth.”

Pratibha Patil (1934) 12th President of India

Patil's goodbye wish: A 'corruption-free India' https://in.news.yahoo.com/patils-goodbye-wish-corruption-free-india-143318154.html in: IANS India Private Limited By Indo Asian News Service, 24 July 2012. Goodybe Wish

Women, Happiness, People, Education

“If deceiving the eye were the only business of the art, there is no doubt, indeed, but the minute painter would be more apt to succeed; but it is not the eye, it is the mind, which the painter of genius desires to address; nor will he waste a moment upon those smaller objects, which only serve to catch the sense, to divide the attention, and to counteract his great design of speaking to the heart.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 3; vol. 1, pp. 70-71.
Discourses on Art

Business, Sense, Heart

“Let us invent a character, a nice respectable, middle-class, middle-aged, maiden lady, with time on her hands and the money to help her pass it. She enjoys pictures, books, music, and the theatre and though to none of these arts (or rather, for consistency's sake, to none of these three arts and the one craft) does she bring much knowledge or discernment, at least, as she is apt to tell her cronies, she "does know what she likes."”

Terence Rattigan (1911–1977) playwright, screenwriter

Let us call her Aunt Edna.
The Collected Plays of Terence Rattigan (London: Hamish Hamilton, 1953) vol. 1, p. xi.

Money, Books, Age, Music

“The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 41
Search for the Real and Other Essays (1948)

Music, Nature, Sense

“When the true principles of design are forgotten; when, in art, the bizarre and novel is the aim rather than the beautiful; when complication and mystery take the place of what should be as simple and clear as the atmosphere, design runs amuck, and becomes so helplessly involved in difficulties that such manifestations as cubism, impressionism, futurism, and art nouveau shoe their ugly heads and pose as art.”

Ernest Flagg (1857–1947) American architect

Introduction
Small Houses: Their Economic Design and Construction (1922)

Beauty, Shoe, Future

“Democracy is the art of cheerfully pulling the wool over the eyes of the people, and doing so in their name.”

Karlheinz Deschner (1924–2014) German writer and activist

Demokratie ist die Kunst, dem Volk im Namen des Volkes feierlich das Fell über die Ohren zu ziehn.
Bissige Aphorismen, S. 64

People, Democracy

“Around late 1961 to 1962, right around there, somewhat unevenly and sort of spottily, I began to do pieces that were based upon a short text of actions that only involved a handful of friends or students at some specific site — a site that was not marked as an art site, a ravine somewhere, or a roadway, or somebody's apartment, or the telephone, that is, the places of everyday life, not designated as sites of art. And the work itself, the action, the kind of participation, was as remote from anything artistic as the site was.... I chose the word Happening from its normal language usage somewhat earlier for that philosophical reason, but I didn't categorize that as lifelike until much later. But in fact, looking back, that's exactly what Happening meant.”

Allan Kaprow (1927–2006) American artist

In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69

Life

“The love of art…. reconciles us to our lined faces and white hear. [Berthe Morisot was 40 years then]”

Berthe Morisot (1841–1895) painter from France

quote in a letter to a friend, c. 1881; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 1986, p. 117
1881 - 1895

Love

“Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits.”

Elaine de Kooning (1918–1989) American painter

Quote in: an tape-recorded interview with Elaine de Kooning on August 27, 1981 http://www.aaa.si.edu/collections/interviews/oral-history-interview-elaine-de-kooning-11999; conducted by Phyllis Tuchman, for the Archives of American Art, Smithsonian Institution: Oral Histories. 1972 - 1989

Painting, Personality

“Geomancy was a natural art, drawing on the inborn powers of the human soul to glean information from the larger soul of the world.”

Robert Fludd (1574–1637) British mathematician and astrologer

Robert Fludd, in The Art and Practice of Geomancy: Divination, Magic, and Earth Wisdom of the , p. 24.

World, Soul, Nature, Drawing

“Life is the art of drawing sufficient conclusions from insufficient premises.”

Samuel Butler (1835–1902) novelist

Life, ix
The Note-Books of Samuel Butler (1912), Part I - Lord, What is Man?

Life, Drawing

“Teach me to feel that Thou art always nigh;
Teach me the struggles of the soul to bear;
To check the rising doubt, the rebel sigh;
Teach me the patience of unanswered prayer.”

George Croly (1780–1860) Irish poet, novelist, historian, and divine

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 444.

Feeling, Soul, Patience

“Art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen.”

Leo Tolstoy (1828–1910) Russian writer

Source: What is Art? (1897), Ch. 8

Men, Feeling

“The art of discovery is confused with the logic of proof and an artificial simplification of the deeper movements of thought results. We forget that we invent by intuition though we prove by logic.”

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

Internet Encyclopedia of Philosophy

Forgetting

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins.... "Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976) 1970s

Music, Imagination, Idea, Dance

“There is a train track in the history of art that goes way back to Mesopotamia. It skips the whole Orient, The Mayas, And American Indians. Duchamp is on it. Cézanne is on it. Picasso and the Cubists are on it; Giacometti, Piet Mondrian, and so many... I have some feeling about all these people – millions of them – on this enormous track, a way into history. They had a peculiar way of measuring. They seemed to measure with a length similar to their own height... The idea that the thing that the artist is making can come to know for itself, how high it is, how wide and how deep it is, is a historical one, - a traditional one I think. It comes from man's own image.”

Willem de Kooning (1904–1997) Dutch painter

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

People, Way, Feeling, History

“It was there [India] I realised that engineering was not my cup of tea. I proceeded to London to look for avenues and got myself enrolled into Hornsey College of Art there. Initially, there was no hope for me, but one exhibition in 1979 made me. That proved to be extremely lucky for me.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor: An unknown Indian

Hope, Tea

“I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.”

Max Pechstein (1881–1955) German artist

Quote of Pechstein in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32-33

Feeling, Painting

“I managed to fail Arts I, a course that a moderately intelligent amoeba could have passed without special coaching.”

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

Things I Didn't Know (2006)

Intelligence

“Art defies defeat by its very existence, representing the celebration of life, in spite of all attempts to degrade and destroy it.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

As quoted at ContemporaryWriters.com http://www.contemporarywriters.com/authors/?p=auth03D25I553012635618

Life

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters (1887–1948) German artist

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

War, World, Color, Way

“Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, 1914 from Wikipedia; as cited by Michel Seuphor, in 'Piet Mondrian: Life and Work;Abrams, New York, 1956, p. 117
1910's

Reality

“[The sensate body possesses] an art of interrogating the sensible according to its own wishes, an inspired exegesis”

Maurice Merleau-Ponty (1908–1961) French phenomenological philosopher

The Visible and the Invisible, trans. A. Lingis (Evanston: 1968), p. 135

“Art is the method of levitation, in order to separate one's self from enslavement by the earth.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

As quoted in Sunbeams : A Book of Quotations (1990) by Sy Safransky, p. 137

“Architecture is defined as the art and science of creating buildings. Systems engineering may be similarly defined as the art and science of creating systems.”

Derek Hitchins (1935) British systems engineer

Source: Advanced Systems Thinking, Engineering and Management (2003), p. 309; partly cited in: Kurt A. Richardson, Wendy J. Gregory, Gerald Midgley (2006) Systems Thinking and Complexity Science. p. 39

Science

“In the West, we avoid painful encounters with art by trivialising it, or by familiarising it. Our present obsession with the past has the double advantage of making new work seem raw and rough compared to the cosy patina of tradition, whilst refusing tradition its vital connection to what is happening now.”

Jeanette Winterson (1959) English writer

Art Objects (1995)

Pain, Past

“For really, when you think of all the life and death problems in the art of the Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.”

Willem de Kooning (1904–1997) Dutch painter

The Renaissance and Order (1950) Trans/formation, vol. 1, no.2, 1951, pp. 85-87.
1950's

Life, Death, Girl, Problem

“Morning View is I think collectively probably our favorite record that we have made as a band because it was the most effortless… um… in its conception… you know? It was a lot less slaving over parts and trying to just get together in this big beautiful room with a view of the ocean and parts and sounds and melodies and lyrics would just happen… they would just sort of spill out of us without us really trying… so to me that's sort of the most amazing way to write music or do any kind of art, which is by letting it happen… but one of the most important parts in any sort of.. uh… journey so to speak.. Is uh… the ride… and we've had a really good time riding to where ever it is we are going… and I don't even think any of us know particularly where it is going to take us… But it's been really fun sort of chasing it.”

Brandon Boyd (1976) American rock singer, writer and visual artist

Discussing Morning View on Boogie TV interview was done the day of their concert at Vega, Copenhagen

Beauty, Music, Way, Thinking

“When I behold this I sighed, and said within myself, "Surely mortal man is a broomstick!" Nature sent him into the world strong and lusty, in a thriving condition, wearing his own hair on his head, the proper branches of this reasoning vegetable, till the axe of intemperance has lopped off his green boughs, and left him a withered trunk; he then flies to art, and puts on a periwig, valuing himself upon an unnatural bundle of hairs, all covered with powder, that never grew on his head; but now should this our broomstick pretend to enter the scene, proud of those birchen spoils it never bore, and all covered with dust, through the sweepings of the finest lady's chamber, we should be apt to ridicule and despise its vanity. Partial judges that we are of our own excellencies, and other men's defaults!”

Jonathan Swift (1667–1745) Anglo-Irish satirist, essayist, and poet

Meditation on a Broomstick (1703–1710)

Men, World, Nature, Strong

“If art, all art, is concerned with truth, then a society in denial will not find much in use for it.”

Jeanette Winterson (1959) English writer

Art Objects (1995)

Truth

“But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.... it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.”

Willem de Kooning (1904–1997) Dutch painter

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54
1960's

Life, Beauty, Imagination, Beer

“Mass consumption, advertising, and mass art are a corporate Frankenstein; while they reinforce the system, they also undermine it. By continually pushing the message that we have the right to gratification now, consumerism at its most expansive encouraged a demand for fulfillment that could not so easily be contained by products…”

Ellen Willis (1941–2006) writer, activist

"Introduction", Beginning To See the Light: Pieces of a Decade (1981)

“The need of the hour is to get people to talk to each other and to clear the air. I don't approve of fusion in art, but I definitely approve of it in the field of politics.”

Vyjayanthimala (1936) Indian actress, politician & dancer

Vyjayanthimala still cuts a striking figure tall

People

“Holism [is] the art — in contrast with reductionism — of seeing a complex system as a whole. Holism knows the limits to its understanding; it acknowledges that the system has its wildness, its privacy, its own reasons, its defences against invasive explanation … It does not pretend to understand the whole school just on the evidence of dissecting the geography teacher.”

David Fleming (1940–2010) British activist

Lean Logic, (2016), p. 194, entry on Holism http://www.flemingpolicycentre.org.uk/lean-logic-surviving-the-future/

School, Understanding, Teachers

“Nature is what we see,
The Hill, the Afternoon—
Squirrel, Eclipse, the Bumble-bee,
Nay—Nature is Heaven.

Nature is what we hear,
The Bobolink, the Sea—
Thunder, the Cricket—
Nay,—Nature is Harmony.

Nature is what we know
But have no art to say,
So impotent our wisdom is
To Her simplicity.”

Emily Dickinson (1830–1886) American poet

Source: Collected Poems (1993), p. 268-269. The Single Hound.

Wisdom, Nature, Bee, Sea

“At the beginning I was confronted with a choice: move into art or revolutionary politics,… I took the path of art at the age of 18…. I could see this possibility of using the ideas of social change within art.”

Gustav Metzger (1926–2017) Artist and political activist

Gustav Metzger: 'Destroy, and you create', 2012

Age, Idea, Change

“[a landscape painter cannot do with] being stupid-natural…. all that art would be [made] in vain if the feeling stayed away. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Het doel, het streven van de kunst, is als dat van de muziek, te ontroeren; in onze geest gewaarwordingen te doen ontstaan..
[een landschapschilder kan niet volstaan met] stom-natuurlijk te zijn.. ..al die kunst zou ijdel zijn, als het gevoel weg bleef.
2 short quotes of W. Roelofs in a letter to his pupil , 8 June 1886; as cited in Willem Roelofs 1822-1897. De adem der natuur, ed. M. van Heteren and R. te Rijdt; exposition catalog of Museum Jan Cunen, Oss / Kunsthal Rotterdam, 2006, p. 50
1880's

Stupidity, Feeling, Nature

“And because this Experimental Science is wholly ignored by the general run of students, for that reason I can not convince people of its utility unless I show at the same time its excellence and its property. This science alone, then, knows how to test perfectly by experience what can be done by nature, what by the industry of art, what by imposture; what the incantations, conjurations, invocations, deprecations, sacrifices (which are magical devices) seek and dream of; and what is done in them, so that all falsity may be removed and that only the truth of art and nature be retained. This science alone teaches one to consider all the insanities of magicians, not that they may be confirmed but that they may be avoided, just as logic considers sophistical argument.”

Roger Bacon book Opus Majus

6th part Experimental Science, Ch.2 Tr. Richard McKeon, Selections from Medieval Philosophers Vol.2 Roger Bacon to William of Ockham
Opus Majus, c. 1267

People, Truth, Dreams, Nature

“Every work of art must retain something from the first days of creation, something of the smell of earth, or one could even say: something animate.”

Wilhelm Lehmbruck (1881–1919) German sculptor

As quoted in The Art of Wilhelm Lehmbruck (1972) by Reinhold Heller

Animals

“In old days the plastic arts, music, and poesy were so germane to man in his totality that his Transcendence plainly manifest in them. … What is to-day obvious to all is a decay in the essence of art. … the opposition to man's true nature as man.”

Karl Jaspers (1883–1969) German psychiatrist and philosopher

Man in the Modern Age (1933)

Music, Nature

“It is my profound wish that this entire collection shall be devoted to the advancement of fine music for the continued enjoyment of music enthusiasts throughout the United States, be they students of the arts, performing artists, or members of that vast audience of music lovers among the American public.”

Leopold Stokowski (1882–1977) British conductor

From his will, in which he provided for his conducting scores, manuscript orchestral transcriptions, and recordings to archived and accessible to the public. The Stokowski Archives are now housed in the University of Pennsylvania Library.

Music, Lovers

Quotes about art page 46

Quotes about art
page 46