Quotes about art (5831 quotes, page 47)

“The ability to get to the verge without getting into the war is the necessary art.”

John Foster Dulles (1888–1959) United States Secretary of State

In [Stephen E. Ambrose, Rise to Globalism: American Foreign Policy Since 1938, Ninth Revised Edition, https://books.google.com/books?id=5lzMtwXckcEC&pg=PT109, 2010, Penguin, 109]

War

“If they want to be illustrators, there's no substitute for a very intensive training in art, and also the use of computers. There are adjunct jobs that are available in publishing that get your foot in the door, and there isn't a designer that doesn't have to use the computer these days. But they have to learn how to draw as well. I'm old-fashioned. I think there's no substitute for basic skills.”

Tomie dePaola (1934) American children's illustrator and writer

An Interview with Tomie dePaola http://katybeebe.com/wp-content/uploads/2013/11/car-2000-05-12-b-013.pdf (May 2000)

Fashion , Thinking , Learning , Drawing

“It is not only the gulf between religions and cultures that plaques us today. There is the widening gulf between the rich and the poor, the world of plenty and the world of famine. We may think we can make a good patch work or mechanical arrangement to ameliorate such a division. But this I feel is an illusion. There is no economic solution to the ills of the world until the arts of originality - arts that are driven by mysterious strangeness - open the partialities and bias of tradition in ways that address the very core of our pre-possessions.”

Wilson Harris (1921–2018) Guyanese writer

pg. 251.
The Unfinished Genesis of the Imagination (1999)

World , Religion , Way , Feeling

“You know, all insanity is a form of artistic expression, I often think. Only the person has nothing but himself to work with—he can’t get at outside materials to manipulate them—so he puts all his art into his behavior.”

Fritz Leiber book Our Lady of Darkness

Source: Our Lady of Darkness (1977), Chapter 10 (p. 56)

Behavior , Thinking , Personality

“The line between art and life should be kept as fluid, and perhaps indistinct, as possible.”

Allan Kaprow (1927–2006) American artist

'Transfiguration of the Commonplace' by Anna Dezeuze in Variant 22 (Spring 2005) http://www.variant.randomstate.org/22texts/Dezeuze.html.

Life

“Machines change their style so rapidly. If one tries to reproduce them in art as realistically as man and the horse in classical art, one immediately lapses into a kind of anecdotic or documentary art... Only the stylisation of a painter like Leger could integrate the machine as the subject matter of art. Here in Italy, the futurists, before 1914, attempted a similar integration of the machine.... César [French sculptor, in the generation of Marini] creates with elements borrowed from industry and the world of machines, sculptural fossils that appear to have survived the same kind of catastrophe as my own figures. But I would like to show you [ interviewer w:Eduard Roditi now in my studio my latest fossils..”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 89

World , Appearance , Change , Horse

“The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.”

Hans Hofmann (1880–1966) American artist

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

Idea , Nature , Problem , Reality

“I want to found a free school for creativity and interdisciplinary research in Düsseldorf [where Beuys was teaching at the Art Academy]. I hope that I will succeed. Everyone can come to me. This school has a legal status... First a school is there to develop ability, that is consciousness, then the children will recognize what a future social structure should look like; that means that one can learn a social feeling or a social sense…”

Joseph Beuys (1921–1986) German visual artist

1970's, Every Man an Artist: Talks at Documenta 5', 1972

Children , School , Hope , Feeling

“These contributions [federal taxes on consumption of foreign goods] enable us to support the current expenses of the Government, to fulfill contracts with foreign nations, to extinguish the native right of soil within our limits, to extend those limits, and to apply such a surplus to our public debts as places at a short day their final redemption, and that redemption [of debt] once effected," he said, "the revenue thereby liberated may, by a just repartition among the States and a corresponding amendment of the Constitution, be applied, in time of peace, to rivers, canals, roads, arts, manufactures, education, and other great objects within each State. In time of war,—if injustice, by ourselves or others, must sometimes produce war,— increased as the same revenue will be increased by population and consumption, and aided by other resources reserved for that crisis, it may meet within the year all the expenses of the year without encroaching on the rights of future generations by burdening them with the debts of the past. War will then be but a suspension of useful works, and a return to a state of peace a return to the progress of improvement.”

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

Advising the origination of an annual fund from surplus revenue.
1800s, Second Inaugural Address (1805)

War , Education , Peace , Support

“All serious art, music, literature is a critical act. It is so, firstly, in the sense of Matthew Arnold's phrase: "a criticism of life." Be it realistic, fantastic, Utopian or satiric, the construct of the artist is a counter-statement to the world.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), I: A Secondary City, Ch. 4 (p. 11).

Life , World , Music , Literature

“I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm…”

Robert Motherwell (1915–1991) American artist

'Jackson Pollock: An Artists' Symposium', in 'ARTnews', Vol. 66, no. 2 April 1967
1960s

Thinking , Dance

“Yes. Basically, I can read your photography [of Wolfgang Tillmans, who is interviewing her] and see what moves you. What really moves you and not just faked emotion. I don't think it's good when it's like that in art – but unfortunately it often is. That's why I like Bruce Nauman, for example, as a sculptor. With his work, sometimes I have really thought to myself, that's simply beautiful... Above all, it is difficult enough to depict something that moves you deep down inside. But that's ultimately what art is all about, and that's also what appeals to people – if an artist can do it.”

Isa Genzken (1948) German sculptor

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

People , Beauty , Thinking , Reading

“In the making both of lace and of statues, the remuneration to the artists can only be reduced by producing a larger number of them through more extended education. The expense of the raw material is small in both. The expense of labour in lacemaking is very large, and it is perhaps considerable also in sculpture. The discovery of more convenient localities yielding marble, may make some diminution in its cost; and the improved manufacture of thread may slightly reduce the price of lace. A reduction in the price of labour may to a very moderate extent reduce the cost of the raw material of both. But it is evident that any very great reduction is not to be expected.
Let us now contrast this possible reduction with the past history of some industrial art. The plain lace made at Nottingham, called patent net, will supply us with a good example. In the year 1813 that lace was sold in the piece at the rate of 218. a-yard. At the present time lace of the same kind, but of a better quality, is sold under the same circumstances at 3d. per yard. Thus, in less than forty years the price of the industrial produce has diminished to one eighty-fourth part of its original price.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 51-52

Education , History , Time , Past

“It is in a sculptor's interest that there should exist a close relationship between his art and that of the poet. Otherwise, his sculpture may lack human or emotional content and become too strictly architectural. We sculptors pay a heavy price for the limited freedom that we enjoy as a result of our being able to create in three dimensions; we must sacrifice color and whole realms of subject matter, such as landscape, that scarcely lend themselves to a representation in three dimensions.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960, in France
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 153

Color , Freedom

“I that have loved thee thus before thou fadest,
My faith shall wax, when thou art in thy waning.
The world shall find this miracle in me,
That fire can burn when all the matter's spent.”

Samuel Daniel (1562–1619) Poet and historian

Delia (1592), Sonnet XXXIII.

Love , World , Faith

“The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix’s intimate connection with romanticism is brought most clearly to light.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism

Music , Light

“Just as a Philistine does not on the whole devote his life to his art, so a misogynist does not devote his inner life to women. Larkin's men friends devolved into pen-pals. Such intimacies as he shared, he shared with women.”

Martin Amis (1949) Welsh novelist

"Political Correctness: Robert Bly and Philip Larkin" (1997)

Life , Women , Men

“Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion… Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests encased in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip… fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.”

Dick Hebdidge

Dick Hebdidge (1979). . p.106-12

School , Fashion , Clothes

“Art, moreover, is taste. It is the reflection of the artist's heart upon all the objects that he creates. It is the smile of the human soul upon the house and on the furnishing. It is the charm of thought and of sentiment embodied in all that is of use to man. But how many of our contemporaries fed the necessity of taste in house or furnishing? Formerly, in old France, Art was everywhere. The smallest bourgeois, even the peasant, made use only of articles which pleased the eye. Their chairs, their tables, their pitchers and their pots were beautiful. Today Art is banished from daily life. People say that the useful need not be beautiful. All is ugly, all is made in haste and without grace by stupid machines. The artist is regarded as an antagonist. Ah, my dear Gsell, you wish to jot down an artist's musings. Let me look at you! You really are an extraordinary man!”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Preface, p. 8-9

Life , People , Stupidity , Smile

“Art is the objectification of feeling.”

Susanne K. Langer (1895–1985) American philosopher

Mind, An Essay on Human Feeling, vol. 1, pt. 2, ch. 4 (1967)

Feeling

“I was enormously impressed by Jackson Pollock and Lucio Fontana.... the sheer brazenness of it! That really fascinated me and impressed me. I might almost say that those paintings were the real reason I left the GDR [ German Democratic Republic ]. I realized that something was wrong with my whole way of thinking... I lived my life with a group of people who laid claim to a moral aspiration, who wanted to bridge a gap... And so the way we thought, and what we wanted for our own art, was all about compromise.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 37

Life , People , Way , Thinking

“In this world of lies, Truth is forced to fly like a scared white doe in the woodlands; and only by cunning glimpses will she reveal herself, as in Shakespeare and other masters of the great Art of Telling the Truth, — even though it be covertly, and by snatches.”

Herman Melville (1818–1891) American novelist, short story writer, essayist, and poet

Since at least 1954 this has also been published at times as "Truth is forced to fly like a sacred white doe…", apparently a typographical error.
Hawthorne and His Mosses (1850)

Truth , World , Flying

“I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 25.

Reality

“There is as yet no unified theory of retrieval systems, and a good deal of retrieval practice is still an empirical art, unsullied by theory.”

Brian Campbell Vickery (1918–2009) British information theorist

Preface (1961) p. vi; Partly cited by Stephen E. Robertson (2011) " On retrieval system theory http://www.iskouk.org/conf2011/papers/robertson.pdf".
On Retrieval System Theory (1961)

“Art should help you to navigate the real challenges of being a human being.”

Martin Firrell (1963) British artist and activist

Quoted in the documentary Art in a Word by Vera Baghiroli, qoob tv (22 July 2008).

Help

“The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile.”

Glenn Gould (1932–1982) Canadian pianist

"So You Want To Write A Fugue", Glenn Gould Reader p240

“I think it right to warn my reader, that there are more passages than one in the book, which are of that nature, which will be perfectly understood by my Masonic friends, but which my engagements prevent me explaining to the world at large. My Masonic friends will find their craft very often referred to. I believe, however that they will not find any of their secrets betrayed; but I trust they will find it proved, that their art is the remains of a very fine ancient system, or, perhaps, more properly, a branch of the fine and beautiful system of WISDOM which, in this work, I have developed.”

Godfrey Higgins book Anacalypsis

Preface to Vol. I.
Anacalypsis (published 1833)

Wisdom , Secret , Books , World

“Men have no right to profess themselves architects hastily, without having climbed from boyhood the steps of these studies and thus, nursed by the knowledge of many arts and sciences, having reached the heights of the holy ground of architecture.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 11

Men , Knowledge , Study , Science

“She wears a artful bonnet, feathers stuck upon it,
Coverin' a fringe all curled;
She's just about the sweetest, prettiest and neatest
Doner in the wide, wide world!
And she'll be Missis 'Awkins, Missis 'En'ry 'Awkins,
Got 'er for to name the day;
Settled it last Monday, so to church on Sunday,
Off we trots the donkey shay!”

Albert Chevalier (1861–1923) English music hall comedian and singer

Song The Future Mrs 'Awkins http://www.amaranthdesign.ca/musichall/songs/hawkins.htm.

World

“First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.”

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

“ ‘Very Graceful Are the Uses of Culture’ ”, p. 211
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Books , Drink , Time

“Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Source: http://www.sprengel-museum.de/bilderarchiv/sprengel_deutsch/fotos/merzbau1933_530.jpg

War , Beauty , Painting , Country

“We refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art.”

Franz Marc (1880–1916) German painter

1911 - 1914
Source: 'Blaue Reiter' (1912), p. 75–76; as quoted on Wikipedia/El Greco, in 'Postumus critical reputation'

Pleasure

“…we no longer have intellectually satisfying arrangements in our educational system, in our arts, humanities or anything else; instead we have slogans and ideologies. An ideology is a religious or emotional expression; it is not an intellectual expression.”

Carroll Quigley (1910–1977) American historian

Oscar Iden Lecture Series, Lecture 3: "The State of Individuals" (1976)

Education

“My work with Benton was important as something against which to react very strongly, later on; in this, it was better to have worked with him than with a less resistant personality who would have provided a much less strong opposition. At the same time Benton introduced me to Renaissance art.”

Jackson Pollock (1912–1956) American artist

remark on his former art-teacher w:Thomas Hart Benton
As quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 137
1940's, Art and Architecture (1944)

Strong , Teachers , Time , Personality

“I complain about the United States not being Athens. I certainly say we are a very good Roman republic, and the lies are based upon the most advanced techniques of advertising, which is the only art form my country has ever created — the television commercial — and we sell soap and presidents in the same fashion. Once a country is habituated to liars, it takes generations to bring the truth back.”

Gore Vidal (1925–2012) American writer

2010s, "Gore Vidal: The United States of Amnesia" (2013)

Truth , Fashion , Country

“Over the ships that are anchored,
Over the fleets that part,
Over the cities dark by the shore,
High as a dream thou art!”

Louise Imogen Guiney (1861–1920) American writer

The Sea-Gull

Dreams , Parting

“Art is the activity that exalts and denies simultaneously. "No artist tolerates reality," says Nietzsche.”

Albert Camus book The Rebel

Part 4: Rebellion and Art
The Rebel (1951)

Reality

“We know from many experiences that this is what the work of art does: its life — in which we have shared the alien existences both of this world and of that different world to which the work of art alone gives us access — unwillingly accuses our lives.”

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

"The Profession of Poetry," Partisan Review (September/October 1950) [p. 166]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life , World

“Be this your nobler praise in times to come,
These your imperial arts, ye sons of Rome!
O'er distant realms to stretch your awful sway,
To bid those nations tremble and obey;
To crush the proud, the suppliant foe to rear,
To give mankind a peace, or shake the world with war.”

Christopher Pitt (1699–1748) English poet

Book VI, line 1209
The Æneid of Virgil (1740)

War , World , Peace , Distant

“Structural design is… very much concerned with art, common sense, sentiment, aptitude, and enjoyment of the task of creating opportune outlines to which scientific calculations will add finishing touches, substantiating that the structure is sound and strong…”

Eduardo Torroja (1899–1961) Spanish architect

p, 125
Philosophy of Structures (1958)

Sense , Strong

“Perhaps it was better for Mr. Lincoln's happiness that he died when he did. Had he lived, he would likely have been involved in bitter political feuds, owing to his liberal opinions in regard to the reconstruction of the States. He was of too sensitive a nature not to feel the shafts that would have been hurled at him by those whom he thought to be his friends, and he would not likely have been permitted to carry out his ideas. As it was, he died a martyr to a great cause, and venerated by all those who loved the Union; and while the names of many who held high places in the State will be forgotten, the memory of Abraham Lincoln will live in the hearts of his countrymen while the art of printing exists by which his name can be handed down to posterity.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 320

Love , Feeling , Idea , Nature

“Art' is a Renaissance invention which has been carried to a state of extreme refinement in the present day. This is the so-called 'abstract art'. The production of good works of art was achieved only at the cost of an enormous concentration upon certain matters. This concentration could be achieved only through neglecting 'life', through the very loss of life- just as religion had experienced before. 'Today this situation is no longer tolerable'. Today life is paramount. Modern life in general rejects all tendencies towards isolation and ivory tower-like exclusiveness. It is absolute un-modern to concentrate upon just one thing (as did the middle Ages!) Modern life is based upon the construction, which is to say, upon a system of tensions or the neutralization of the system of carry and support. In agreement with this concept we too must distribute our vitality over the whole range of life taken in the broadest possible sense. All other attitudes towards life produce tragedy.”

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

Quote in 'The end of Art', in De Stijl; Theo van Doesburg – series XII, 1924-5, pp. 135–136
1920 – 1926

Life , Age , Religion , Support

“Our art culture makes no attempt to search the past for precedents, but transforms the entire past into a sequence of provisional responses to a problem that remains intact.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part IV, Chapter VII
Les voix du silence [Voices of Silence] (1951)

Search , Problem , Past

“My artwork is about resistance, de-colonization, self-definition, self-empowerment and survival. I draw upon myths, family folklore, and indigenismo (a native way of being). I reinterpret and register all these as cultural, visual, iconographic manifestations of my identity. As the subject matter of my art, I exalt a lineage of women, energized from a sacred space of creation.”

Santa Barraza (1951)

Santa Barraza, Artist of the Borderlands (2001)

Women , Family , Way , Drawing

“Nature's purpose in relation to the visual arts is to provide stimulus — not imitation... From its ceaseless urge to create springs all Life — all movement and rhythm — time and light, color and mood — in short, all reality in Form and Thought.”

Hans Hofmann (1880–1966) American artist

As quoted in Hans Hofmann (2000) by James Yohe
1970s and later

Life , Color , Spring , Mood

“With art, it is like with the languages that people use: each opens up other possibilities, other layers of sensitivity and expression.”

Tomasz Vetulani (1965) Polish artist

Tomasz Vetulani o Holandii, niskim kraju http://www.nto.pl/apps/pbcs.dll/article?AID=/20110605/REPORTAZ01/762330357, nto.pl, 5 June 2011 (in Polish)

People

“It isn't pleasant to surrender to the hegemony of a nation which is still wild and primitive, and to concede the absolute superiority of its customs and institutions, science and technology, literature and art. Must one sacrifice so much in the name of the unity of mankind?”

Czeslaw Milosz book The Captive Mind

"The Pill of Murti-Bing" (1951), trans. Jane Zielonko
The Captive Mind (1953)

Literature , Science

“The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is.”

Grant Morrison (1960) writer

2004
https://web.archive.org/web/20040803000924/http://www.popimage.com/content/grant20041.html Popimage interview
On comics

Home , Imagination , Game , Flowers

“when you confuse art with propaganda, you confuse an act of God with something which can be turned on and off like the hot water faucet. If "God" means nothing to you(or less than nothing)I'll cheerfully substitute one of your own favorite words,"freedom". You confuse freedom—the only freedom—with absolute tyranny…
all over this socalled world, hundreds of millions of servile and insolent inhuman unbeings are busily unrolling in the enlightenment of propaganda.”

E.E. Cummings (1894–1962) American poet

Essay in the anthology The War Poets (1945) edited by Oscar Williams

God , World , Freedom , Water

“For the translator of poetry, there is no activity that brings you into a closer, more intimate contact with language, both the second language and your own language, which translation allows you to experience freshly. Of course, translation is the impossible art which is why it attracts often the best minds, at least those driven by difficulty. The best metaphor I know for translation is from my friend Eamon Grennan, who translated the poems of Leopardi. It's like walking in a clear mountain stream, looking at colorful stones in the water. You find one so gorgeous, you put it in your pocket, take it home and put it on a shelf. In the morning you are surprised that the stone looks so dull and without luster. You have the stone, but you have removed it from the water of its home language so it has lost its luster.”

Billy Collins (1941) American poet

Interview with Kritya: In the Name of Poetry

Color , Home , Mountain , Water

“While the art of printing is left to us science can never be retrograde; what is once acquired of real knowlege can never be lost.”

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

Letter to William Green Mumford (18 June 1799) http://www.princeton.edu/~tjpapers/munford/munford.html
1790s

Science

“It is in accordance with the impression that the plate ought to be painted; it gives you an impact, you translate the impact, and it is this which is truly artistic. It is like this that modern art began. And note that he was right. His plates were not round, but he was right in principle.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in "Paris (1897-1904)", and in The Mother on Art http://www.motherandsriaurobindo.org/Content.aspx?ContentURL=/_staticcontent/sriaurobindoashram/-02%20the%20mother/the%20mother%20as%20an%20artist/-05%20mother%20on%20art.htm

Painting

“Commerce is so far from being beneficial to Arts or to Empire, that it is destructive of both, as all their History shows, for the above Reason of Individual Merit being its Great Hatred. Empires flourish till they become Commercial & then they are scattered abroad to the four winds”

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

Public Address, Blake's Notebook c. 1810
1810s

History

“One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art.”

Clement Greenberg (1909–1994) American writer and artist

"Wyndham Lewis Against Abstract Art" (1957), p. 164
1960s, Art and Culture: Critical Essays, (1961)

Motivation

“Among the painters of our day who have helped me develop are Carlo Carra [famous Futurist painter] and Ardengo Soffici; their work and writings have in my opinion been a beneficial influence on where Italian art is going today.”

Giorgio Morandi (1890–1964) Italian painter

in Autobiografia, G. Morandi; (1928); as quoted in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 44
1925 - 1945

Help

“There's this barrier that goes up between the people who make the movies and the people who watch the movies. But the point of art is to have a connection between people. I think it's going to become much more of a dialogue, where everybody will watch everybody's stuff, as opposed to how it is now, where the huge corporations produce everything. I'm looking forward to seeing that.”

Joseph Gordon-Levitt (1981) American actor, director, producer, and writer

New York Post, March 25, 2007

People , Thinking

“Besides, for poets it wasn’t lying, it was art.”

Karen Lord (1968) Barbadian novelist and sociologist of religion

Source: Redemption in Indigo (2010), Chapter 9 “A Stranger is Coming to Makendha” (p. 72)

Lying

“The media, the galleries, the collectors – it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine. Of course there's a system of sorts. This person will talk to that person and somebody else will pass it on to somebody else… you can trace a line of power of some kind. But its nothing like as clear and set as people think. And this chaos leads to a lot of insecurity. It's only after an artist has achieved some independence from it that he MODERN PAINTERS can really stand up to the collectors and the dealers and do his art.”

Jeff Koons (1955) American artist

Jeff Koons in: Modern Painters. Vol. 2 (1989), p. 63
1980s

People , Imagination , Thinking , Personality

“Art is not, as the metaphysicians say, the manifestation of some mysterious Idea of beauty or God; it is not, as the aesthetical physiologists say, [play or] a game in which one releases surplus energy, …not the production of pleasing objects, and is above all, not pleasure itself, but it is the means of union among mankind, joining them in the same feelings, and necessary for the life and progress toward the good of the individual and of humanity.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

Life , God , Pleasure , Beauty

“Spirit, Patience, Gentleness,
All that can adorn and bless
Art thou — let deeds, not words, express
Thine exceeding loveliness.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

St. 64
(1819)

Patience

“Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Thinking , Parting , Personality

“A happy coincidence brought together [in Die Brücke ]the really talented men whose characters and gifts, even in human terms, left them with no other choice than the profession of artist. This form of living, of dwelling and working, though peculiar for a regular human being, was not a deliberate 'epater le bourgeois', but simply a very naive and pure necessity to harmonize art and life. And it was precisely this more than anything else that so tremendously influenced the forms of present-day art. Of course, it was mostly misunderstood and totally distorted, for there [the will] fashioned the form and gave it meaning, whereas here the unfamiliar form is affixed to habit, like a top hat on a cow.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

from Kirchner's Diary, 1923; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 93
1920's

Life , Men , Fashion , Happiness

“[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they worship the traditionalism of w:Poussin, of w:Ingres, of Corot, ageing and petrifying their art with an obstinate attachment to the past, which to our eyes remains totally incomprehensible.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Source: 1912, Les exposants au public', 1912, pp. 2, 3.

Age , Nature , Past , Painting

“Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.”

Eudora Welty (1909–2001) American author

On Writing (2002)

Life , Reality

“A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject-matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before me, but I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 413

Life , Color , Christ

“When looking at any significant work of art, remember that a more significant one probably has had to be sacrificed.”

Paul Klee (1879–1940) German Swiss painter

Diary entry (December 1904), # 583, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1903 - 1910

“I'm especially interested in the music of John Cage... I would like to do some experimenting with the relationship between his freeform sound and free-form art.”

Jasper Johns (1930) American artist

Quote of Johns, from: John Adds Plaster Casts To Focus Target Paintings, Donald Key, Milwaukee Journal, 19 June 1960, pt. 5, p. 6
1960s

Music

“.. we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.... the role of the spectator is to determine the weight of the work on the aesthetic scale.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

Personality

“Dear Sir Verloren. Today I send you a drawing for your art-reviews. I would liked to have done more for you, but I have many demands for drawings from all sides and I am still very busy with paintings after my studies I made during the last trip. I hope that the drawing will be acceptable. The price is 150 guilders. I am not sure you need a title, call it just simply, 'Bij een Drentsch dorp' (At a village in Drenthe).”

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

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Waarde Heer Verloren. Heden zend ik U eene teekening voor Uwe kunstbeschouwingen. Gaarne had ik méér gedaan, maar heb aan alle kanten vraag naar teekeningen en zit daarenboven nog tot over de ooren in schilderijen naar studies der laatste reis. Ik hoop dat men de teekening redelijk goed zal vinden.- De prijs is 150 guldens.- Ik weet niet of gij een titel behoeft, noem het dan maar eenvoudig, 'Bij een Drenthsch dorp'.
Quote from a letter of W. Roelofs 2 Oct. 1861, to art-collector/dealer P. verloren van Themaat in Utrecht, taken from: an extract in the Dutch Archive R.K.D., The Hague https://rkd.nl/explore/excerpts/281
1860's

Hope , Business , Study , Drawing

“Female artists are the perfect example of a creator: They know how to make life and art with their bodies. Life comes from their bodies, so on a very basic level, they have more to write about.”

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

RS, on some of his favorite female artists such as Ani DiFranco and Bjork

Life , Perfection

“Achilles exists only through Homer. Take away the art of writing from this world, and you will probably take away its glory.”

François-René de Chateaubriand book Les Natchez

Les Natchez (1826).

World

“The personal made universal is art’s truth.”

Yahia Lababidi (1973)

Signposts to Elsewhere (2008)

Truth , Universe , Personality

“Ars sana in corpore sano. (Healthy art in a healthy body.)”

Genco Gulan (1969) contemporary artist

Gulan, Genco. (2016) https://twitter.com/gencogulan/status/746279774503505920 Retrieved 2016-06-24.

“Films and filmmakers and actors are part of a strange art form, which is only measured by the yardstick of commerce. So it's a dichotomy; it'll always be so.”

Shahrukh Khan (1965) Indian actor, producer and television personality

From interview with Anshul Chaturvedi

Parting

“If one tries to understand the position of art today, one must also try to understand the conditions that have created the development of our perception of art and our perception of the relation to the individual and to society. The artist takes an active part in the campaign to deepen this our knowledge of the basis of our existence, the basis which, for him, makes possible an artistic creation. The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details. Nothing can be sacred to him, because everything has become important to him.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Understanding , Knowledge , Parting

“By far the most valuable things, which we know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects. No one, probably, who has asked himself the question, has ever doubted that personal affection and the appreciation of what is beautiful in Art or Nature, are good in themselves; nor, if we consider strictly what things are worth having purely for their own sakes, does it appear probable that any one will think that anything else has nearly so much value as the things which are included under these two heads.”

G. E. Moore book Principia Ethica

Principia Ethica (1903; revised edition, Cambridge University Press, 1993).

Pleasure , Beauty , Imagination , Question

“Science is not science. It's an art, like… art, in a way.”

John Hodgman book The Areas of My Expertise

October 18, 2007
The Areas of My Expertise (2005), Appearances on The Daily Show with Jon Stewart

Way , Science

“I commend the Judge that seems fine and ingenious, so it tend to right and equity. And I condemn them, that either out of pleasure to shew a subtil wit will destroy, or out of incuriousness or negligence will not labour to support the act of the party by the art or act of the law.”

Sir Henry Hobart, 1st Baronet (1554–1625) English politician

Pits v. James (1614), Lord Hobart's Rep. 124-125

Pleasure , Law , Support

“Wherever rights are denied the poor, the prophetic anger is turned not merely against the incumbent rulers but equally against the means society employs to gloss over its own mendacity. And foremost among these means is art. Catering to luxury and emphasizing only the beautiful, art denies the fact that wretchedness and destitution have a tight grip on the poor. This is the reason why the prophetic zeal turned against art, and not merely against the luxury of women and the pretentiousness of the rich.”

Hermann Cohen (1842–1918) German philosopher

Source: Reason and Hope: Selections from the Jewish Writings of Hermann Cohen (1971), p. 118

Women , Beauty , Anger

“Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.”

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

Source: Art on the Edge, (1975), p. 71, "Lester Johnson's Abstract Men"

Imagination , History , Game , Painting

“We hear the Secretary of State boasting of his brinkmanship — the art of bringing us to the edge of the abyss.”

Adlai Stevenson (1900–1965) mid-20th-century Governor of Illinois and Ambassador to the UN

Referring to Secretary of State John Foster Dulles, in a speech in Hartford, Connecticut (25 February 1956)

“This is not an objective, historical or psychological evaluation of Danish experimental art and its historical roots, but an ideological and artistic, collective representation of our own work, thoughts, and ideas. It shows how we ourselves view our work and our way of working, and considers which of the many traditions that make up our foundation we feel connected to.”

Asger Jorn (1914–1973) Danish artist

from Jorn's 'Notebook', containing the draft for a book on Danish experimental art (1948)
1949 - 1958, Various sources

Way , Feeling , Idea

“PROUN alters the conventional forms of the arts and leaves behind the image of the petty individualist, who locked himself in his office and hid seated before a drawing easel, starting one picture and finishing another.
The future life — this is the reinforced concrete slab for the communist foundation of the nations of the entire world. With the aid of the PROUN one can build a unified city-commune on that foundation, intended for the life of all mankind.”

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

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

Life , World , Communication , Future

“Others abide our question. Thou art free.
We ask and ask — Thou smilest and art still,
Out-topping knowledge.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

" Shakespeare http://classiclit.about.com/library/bl-etexts/marnold/bl-marn-shakes.htm" (1849, st. 1)

Question , Knowledge

“From the top of the campanile, or Giotto's bell tower, in Florence, one can look out over the city in all directions, past the stone banking houses where the rich Medici lived, past the art galleries they patronized, past the magnificent cathedral and churches their money helped to build, and on to the Tuscan vineyards where the contadino works the soil as hard and efficiently as he probably ever did. The city below is busy with life. The university halls, the shops, the restaurants are crowded. The sound of Vespas, the "wasps" of the machine age, fills the air, but Florence is not today what it once was, the center in the 15th century of a great civilization, one of the most extraordinary the world has ever known. Why? What produced the Renaissance in Italy, of which Florence was the center? How did it happen that such a small population base could produce, in the short span of a few generations, great historical figures first in commerce and literature, then in architecture, sculpture and painting, and finally in science and music? Why subsequently did Northern Italy decline in importance both commercially and artistically until at the present time it is not particularly distinguished as compared with many other regions of the world? Certainly the people appear to be working as hard and energetically as ever. Was it just luck or a peculiar combination of circumstances? Historians have been fascinated by such questions ever since they began writing history, because the rise and fall of Florence or the whole of Northern Italy is by no means an isolated phenomenon.”

David C. McClelland (1917–1998) American psychological theorist

Source: The Archiving Society, 1961, p. 1; lead paragraph, about the problem

Life , Money , People , Age

“The single greatest influence on my work as a filmmaker has been the celebrated Interviews with Francis Bacon (1980) by David Sylvester. Sylvester is a master of the art of complicity: he knows how to manipulate and exploit it. Complicity requires being cautiously intellectual yet profoundly human in the sense that the interviewer must act as the concerned midwife, allowing the interviewee to express himself while at the same time guiding his thoughts to a satisfactory conclusion through sensitive provocation.”

Damian Pettigrew book I'm a Born Liar: A Fellini Lexicon

I'm a Born Liar: A Fellini Lexicon (2003)

Sense , Time

“I believe that architects should design gardens to be used, as much as the houses they build, to develop a sense of beauty and the taste and inclination toward the fine arts and other spiritual values.”

Luis Barragán (1902–1988) Mexican architect

Contemporary Architects, St. Martins Press.

Beauty , Sense , Housing

“Calcutta is like a work of modern art that neither makes sense nor has utility, but exists for some esoteric aesthetic reason.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

A Strange and Sublime Address (1991)

Sense

“I was positively stunned and have straightaway become a votary of Mathura art to the exclusion of all the other and later schools. I had some of the things in reproductions but never dreamt they were so magnificent. With the possible exception of Mahabalipuram I don’t think I have seen anything in Indian sculpture that I liked so much.”

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

In [Dalmia, Yashodhara, Amrita Sher-Gil: A Life, http://books.google.com/books?id=KmMctE3wAgIC&pg=PT152, 15 January 2013, Penguin Books Limited, 978-81-8475-921-1, 152–]
Sikh Heritage,Amrita Shergil

School , Thinking

“Dada hurts. Dada does not jest, for the reason that it was experienced by revolutionary men and not by philistines who demand that art be a decoration for the mendacity of their own emotions... I am firmly convinced that all art will become dadaistic in the course of time, because from Dada proceeds the perpetual urge for its renovation.”

Richard Huelsenbeck (1892–1974) German poet

Quote of Huelsenbeck, in 'Dada Lives', Transition no. 25 (Autumn 1936), as cited in The Dada Painters and Poets: An Anthology, ed. Robert Motherwell (1951)

Men , Time , Hurt

“Animation in itself is an art form, and that's the point I think always needs clarification. True animation exists without any background, or any color, or any sound, or anything else; it exists in your hand. And you can take it and flip it. […] What makes animation is the fact that you have a series of drawings that move. You don't even have to have a camera, you see; animation exists without it. If you want to broaden your audience, or make it more colorful or add music, then you put it under a camera one frame at a time, and then you run it at the same speed as you flip it, and then you have animation. If it depends basically upon soundtrack, or basically upon music, or color, graphic design, or anything else to sustain itself, then it is not unique to animation.”

Chuck Jones (1912–2002) American animator, cartoon artist, screenwriter, producer, and director of animated films

Joe Adamson, "Witty Birds and Well-Drawn Cats: An Interview with Chuck Jones [1971]", in Chuck Jones: conversations, ed. Chuck Jones and Maureen Furniss (Univ. Press of Mississippi, 2005), 63.

Music , Color , Thinking , Time

“Art can only be truly art by presenting an adequate outward symbol of some fact in the interior life.”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

Part II, Things and Thoughts of Europe, p. 198.
At Home And Abroad (1856)

Life

“Agriculture is the art of deriving from the earth the most valuable organic productions. He who exercises this art, seeks to obtain profit by causing to grow, and by using, its animal and vegetable productions. The more considerable the gain derived, therefore, the better is the object accomplished. The most perfect agriculture is, evidently, that which produces, by the application of labour, the largest and the most permanent profit in comparison with the means employed. Systematic agriculture ought, then, to teach us all the circumstances by means of which we may derive the most considerable profit by the practice of the art.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

Source: The Principles of Agriculture, 1844, Section I: The fundamental principles, p. 1.

Exercises , Animals , Perfection

“The tyranny of necessity grants its slaves three kinds of freedom: opinion free from intellect, entertainment free from art, and orgies free from love.”

Karl Kraus (1874–1936) Czech playwright and publicist

“In these great times,” Harry Zohn, trans., In These Great Times (Montreal: 1976), p. 74

Love , Freedom

“Smiles come naturally to me, but I started thinking of them as an art form at my command. I studied all the time. I looked at magazines, I'd practice in front of the mirror and I'd ask photographers about the best angles. I can now pull out a smile at will.”

Tyra Banks (1973) American model, author and television personality

Lynn Hirschberg (June 1, 2008) "Banksable" http://www.nytimes.com/2008/06/01/magazine/01tyra-t.html?ei=5124&en=6a5e98a9634a54f6&ex=1369972800&partner=permalink&exprod=permalink&pagewanted=all, The New York Times, The New York Times Company.

Smile , Nature , Thinking , Study

“The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white…. Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content…”

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

Quote from Dutch art-magazine: 'Eenheid' (in Dutch: Unity) no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 105
1912 – 1919

Soul , Idea , Problem , Painting