Quotes about art
page 48

“When I was writing songs or performing or producing or dabbling in movies or even putting my career on hold to go to art school, I was just following my muse. A woman who did that then was criticized for having no direction. Today they call it versatility.”

Jackie DeShannon (1941) American singer-songwriter

Biography magazine (April 2002)

School

“Every human being longs to be happy, to satisfy the wants of the body with food, with roof and raiment, and to feed the hunger of the mind, according to his capacity, with love, wisdom, philosophy, art and song.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

How To Reform Mankind (1896). http://www.infidels.org/library/historical/robert_ingersoll/how_to_reform_mankind.html Republished by Kessinger Publishing, Llc, 2005. http://books.google.de/books/about/How_to_Reform_Mankind.html?id=u-IpAAAACAAJ&redir_esc=y

Love, Wisdom, Hunger, Happiness

“He entered; but the mask he wore
Concealed his face from me.
Still, something I had seen before
He brought to memory. "Who art thou? What thy rank, thy name?"
I questioned, with surprise;
"Thyself" the laughing answer came,
"As seen of others' eyes."”

John B. Tabb (1845–1909) American poet

"The Stranger", in Poems (1894) http://www.archive.org/details/poemsjohntabb00tabbrich

Question, Memory

“A community whose life is not irrigated by art and science, by religion and philosophy, day upon day, is a community that exists half alive.”

Lewis Mumford (1895–1990) American historian, sociologist, philosopher of technology, and literary critic

Faith for Living (1940)

Life, Religion, Communication, Science

“The method of viewing things which proceeds in accordance with the principle of sufficient reason is the rational method, and it alone is valid and of use in practical life and in science. The method which looks away from the content of this principle is the method of genius, which is only valid and of use in art.”

Arthur Schopenhauer book The World as Will and Representation

Die dem Satz vom Grunde nachgehende ist die vernünftige Betrachtungsart, welche im praktischen Leben, wie in der Wissenschaft, allein gilt und hilft: die vom Inhalt jenes Satzes wegsehende ist die geniale Betrachtungsart, welche in der Kunst allein gilt und hilft.
Die Welt als Wille und Vorstellung, Zweiter Band, Ergänzungen zum dritten Buch, para. 36 (1859)
The World as Will and Representation (1819; 1844; 1859)

Life, Science

“One does not need to have the authentic Hittite nose to be a Jew; the term Jew rather denotes a special way of thinking and feeling. A man can very soon become a Jew without being an Israelite; often it needs only to have frequent intercourse with Jews, to read Jewish newspapers, to accustom himself to Jewish philosophy, literature and art. On the other hand, it is senseless to call an Israelite a 'Jew', though his descent is beyond question, if he has succeeded in throwing off the fetters of Ezra and Nehemiah, and if the law of Moses has no place in his brain, and contempt of others no place in his heart.”

Houston Stewart Chamberlain book The Foundations of the Nineteenth Century

The Foundations of the Nineteenth Century (Die Grundlagen des neunzehnten Jahrhunderts) (1899)

Law, Way, Feeling, Literature

“Hofmann is perhaps the most difficult artist alive-difficult to grasp and to appreciate. But by the same token he is an immensely interesting, original, and rewarding one, whose troubles in clarifying his art stem in large part precisely from the fact that he has so much to say.”

Clement Greenberg (1909–1994) American writer and artist

On Hans Hofmann, in "Hofmann", in Georges (Fall 1961) http://www.sharecom.ca/greenberg/hofmann.html 1960s

Parting

“This is a work which ought to be in every library in Canada; perhaps, after twenty-five years or so, it might silence the recurrent hubbub about nude paintings which is a feature of our national life. Yes, they are erotic. Yes, madam, the painters are often naughty men, and the models are sometimes bad girls. But there are elements involved in the painting of the nude which draw upon what is highest in art and express what is highest in mankind. Now, may we please look at the pictures?”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Review of The Painter's Eye and The Nude (1957).

Life, Men, Girl, Silence

“If art does not enlarge men's sympathies, it does nothing morally.”

George Eliot (1819–1880) English novelist, journalist and translator

Letter to Charles Bray (5 July 1859)

Men

“Music is arguably the most affecting of the arts; intelligible to all people yet untranslatable into any other idiom. To Schopenhauer it was a direct expression of the ‘world will’… and was good when he had guests over.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)

People, World, Music, Intelligence

“Art and order, the relative that refuse to relate.”

Elfriede Jelinek book The Piano Teacher

P 124
The Piano Teacher (1988)

“Faults in English prose derive not so much from lack of knowledge, intelligence or art as from lack of thought, patience or goodwill.”

Robert Graves (1895–1985) English poet and novelist

Source: The Reader Over Your Shoulder (1943), Ch. 3: "Where Is Good English to Be Found?"

Intelligence, Knowledge, Patience

“I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.”

Lucian Freud (1922–2011) British painter and engraver

Said in conversation with Robert Hughes and quoted in Hughes' Lucian Freud: Paintings (1987) ISBN 0-500-27535-1, p. 14
Lucian Freud : Paintings (1987)

Life, Hope

“There is only one reason for art in America, and that is that the people of America learn the means of expressing themselves in their own time, and their own land.”

Robert Henri (1865–1929) American painter

citation needed

People, Learning, Time

“The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i. e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.... If any of the different types of fine art (i. e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised”

Lyubov Popova (1889–1924) Russian artist

Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68

Life, Search, Support, Drawing

“Think, for a moment, of a cheetah, a sleek, beautiful animal, one of the fastest on earth, which roams freely on the savannas of Africa. In its natural habitat, it is a magnificent animal, almost a work of art, unsurpassed in speedor grace by any other animal. Now, think of a cheetah that has been captured and thrown into a miserable cage in a zoo. It has lost its original grace and beauty, and is put on display for our amusement. We see only the broken spirit of the cheetah in the cage, not its original power and elegance. The cheetah can be compared to the laws of physics, which are beautiful in their natural setting. The natural habitat of the laws of physics is higher-dimensional space-time. However, we can only measure the laws of physics when they have been broken and placed on display in a cage, which is our three-dimensional laboratory. We can only see the cheetah when its grace and beauty have been stripped away.”

Peter Freund (1936–2018) American physicist

As quoted by Michio Kaku in Hyperspace (Oxford University Press, 1994), p. 12. ISBN 0-385-47705-8.

Law, Beauty, Nature, Thinking

“By thy cold breast and serpent smile,
By thy unfathom'd gulfs of guile,
By that most seeming virtuous eye,
By thy shut soul's hypocrisy;
By the perfection of thine art
Which pass'd for human thine own heart;
By thy delight in others' pain,
And by thy brotherhood of Cain,
I call upon thee! and compel
Thyself to be thy proper Hell!”

George Gordon Byron book Manfred

Act I, scene i.
Manfred (1817)

Pain, Smile, Soul, Hell

“There is no point in hiding that before the war we mostly learned to attack, and did not pay enough attention to such an important manoeuvre as retreat. Now we have paid for this. It turned out that the commanders and the staff were not sufficiently prepared to prepare and execute the retreat manoeuvre. Now, in the second week of war, we had in fact to learn from the beginning the most difficult art - the art of the execution of retreat.”

Hovhannes Bagramyan (1897–1982) Soviet military commander

Quoted in "The System of the International Organizations of the Communist Countries" - Page 36 - by Richard Szawlowski - 1976

War, Learning

“Minimal art went nowhere. Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus. All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art. The other great development has been in photography, but that too was influenced by Conceptual art.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Idea

“Art for art's sake has never flourished in England. We are often called inartistic because our art is unconscious. Our drama and poetry, like our laws and our constitution, have evolved by accident while we thought we were doing something else, and so it will be with music. The composer must not shut himself up and think about art, he must live with his fellows and make his art an expression of the whole life of the community – if we seek for art we shall not find it.”

Ralph Vaughan Williams (1872–1958) English composer

"Who Wants the English Composer?" (1912); cited from Ursula Vaughan Williams RVW (1964) pp. 101-2.

Life, Law, Music, Communication

“So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.”

Helen Frankenthaler (1928–2011) American artist

quote about her Bennington-years 1945-48
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Friendship, Angels, Way, History

“An artist cannot be partially sincere any more than art can be an approximation of beauty.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 47

Beauty, Sincerity

“Be sure from nature never to depart;
To copy nature is the task of art.
The noblest poets own her sovereign sway,
And ever follow where she leads the way.”

Christopher Pitt (1699–1748) English poet

Book II, p. 69
Vida's Art of Poetry (1725)

Way, Nature

“[It].... is a real declaration of love toward art. Abstraction from this world more as a game, less as a failure of the earthly. Somewhere in between. The man in love no longer drinks and eats..”

Paul Klee (1879–1940) German Swiss painter

Diary entry (1912), # 922; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html 1911 - 1914

Love, World, Game, Failure

“[I have] done various series of seascapes in different genres, beaches which demonstrated if not great art at least a reasonably faithful reproduction of the people of our age.”

Eugène Boudin (1824–1898) French painter

Quote of Boudin, as cited by Dalya Alberge, in 'Life's a beach: Boudin...' in 'Independent online' http://www.independent.co.uk/arts-entertainment/lifes-a-beach-boudin-was-well-a-bit-on-the-dull-side-but-his-paintings-were-wild-and-beautiful-dalya-1471851.html, 9 February 1993 Boudin's reaction when a art-critic asked him for some biographical details undated quotes

People, Age, Faith

“One is not quite certain that creativeness in the arts, literature, and science functions best in an environment of absolute freedom. Chances are that a relatively mild tyranny stimulates creativeness.”

Eric Hoffer (1898–1983) American philosopher

Entry (1956)
Eric Hoffer and the Art of the Notebook (2005)

Literature, Freedom, Science, Chance

“Neither perfect knowledge of the past nor complete awareness of the current state of the arts gives sufficient foresight to indicate profitable action. Even for this more restricted objective, the pervasive effects of uncertainty prevent the ascertainment of actions which are supposed to be optimal in achieving profits. Now the consequence of this is that modes of behavior replace optimum equilibrium conditions as guiding rules of action. Therefore, in the following sections two forms of conscious adaptive behavior are emphasized.”

Armen Alchian (1914–2013) American economist

"Uncertainty, Evolution, and Economic Theory", 1950

Behavior, Optimism, Knowledge, Past

“Better is art, than evil strength; for with art men may hold what strength may not obtain.”

Layamon Layamon's Brut

Source: Brut, Line 8590; vol. 2, p. 297.

Men, Evil

“In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense.”

André Breton (1896–1966) French writer

Breton's quote refers to the start of the term Surrealism, together with Philippe Soupault
Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

Sense

“2489. Thou art not Master of what thou hast spoken, but mayest dispose of what thou hast not spoken as thou pleasest, and canst say it, or not say it, as thou wilt.”

Thomas Fuller (writer) (1654–1734) British physician, preacher, and intellectual

Introductio ad prudentiam: Part II (1727)

“Frank, you are, without doubt, a scarcity. Anyone who looks at the historical record of the juncture of art and technology finds you nearly unaccompanied when it comes to documenting this historical record between the years of the late-1960's up to the early 1990s. Basically there is you, Jack Burnham's book Beyond Modern Sculpture (1968), and Gene Youngblood's reference work Expanded Cinema (1970). Specifically, your books Origins and Development of Kinetic Art (1968), Art, Action and Participation (1975) and Art of the Electronic Age (1993) are indispensable research tools in helping us figure out how art got to where it is today - in your terms virtualized.”

Joseph Nechvatal (1951) American artist

Joseph Nechvatal. in: " Origins of Virtualism: An Interview with Frank Popper http://www.mediaarthistory.org/refresh/Programmatic%20key%20texts/pdfs/Popper.pdf," in: Media Art History, 2004.

Books, Age, Help

“…it's not my job to preach a sermon. Art is anyhow a homily. My job is to speak in living images, not in arguments. I must exhibit life full-face, not discuss life.”

Nikolai Gogol (1809–1852) Russian writer

A letter to Zhukovsky, January 1848, quoted in Sculpting in Time (p49) by Andrei Tarkovsky

Life

“Of the 16 years that I have been living in Germany, I have given myself entirely to the German art world. How am I now suddenly supposed to feel myself a foreigner?”

Wassily Kandinsky (1866–1944) Russian painter

Quote in his letter to Herwarth Walden [of 'der Sturm'], August 2, 1914; as cited by lrike Becks-Malorny, in Wassily Kandinsky, 1866–1944: The Journey to Abstraction [Cologne: Taschen, 1999], p. 115
because of the outbreak of World War 1. Kandinsky had to leave Germany because of his Russian nationality
1910 - 1915

World, Feeling

“The fine arts once divorcing themselves from truth are quite certain to fall mad, if they do not die.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Latter Day Pamphlet, No. 8. (1850).
1820s, Critical and Miscellaneous Essays (1827–1855)

Truth, Madness

“[I had] pushed through to a spiritual sex: art--that nobody protects as readily as a charming love body of flesh.”

Elsa von Freytag-Loringhoven (1874–1927) German poet

Quoted in Irene Gammel, Baroness Elsa: Gender, Dada and Everyday Modernity, p 54.

Love, Sex

“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

People, Painting

“The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon.”

Robert Rauschenberg (1925–2008) American artist

Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969
1960's

Change, Parting, Personality

“Despite the hundreds of attempts, police terror and the concentration camps have proved to be more or less impossible subjects for the artist; since what happened in them was beyond the imagination, it was therefore also beyond art and all those human values on which art is traditionally based.”

Al Alvarez (1929–2019) English poet, novelist, essayist and critic

Page 251.
The Savage God (1971)

Imagination

“Not to know the Bible is, in some ways, to be illiterate, to neglect the very roots of philosophy, art, architecture, literature, poetry and music.”

Chris Hedges book American Fascists: The Christian Right and the War on America

Source: American Fascists: The Christian Right and the War on America, Chapter One: Faith

Music, Way, Literature

“Why I’m telling you this is because that’s where this music comes from, that’s where my art comes from. You’re talking to a miracle; I am a miracle. I’m not halfway there, you know, dut-dut-dut-dut-da, drink a beer, hang out with my buddies, smoke a joint and get together with the band, wanna be a rock star; no. I am a very troubled individual who has been handed these obstacles in life, and overcome my fears to be honest with myself, so I can be honest with you. That’s not exploitation, it’s liberation.”

Travis Meeks (1979) American musician

[LEO Weekly, http://leoweekly.com/?q=node/7333, MUSIC ISSUE: You're talking to a miracle, 2008-07-16]

Life, Fear, Music, Star

“.. and, to tell the truth, I find it very difficult to like new art. It is only lately, and after having been unsympathetic for a great while, that I at last understood Eugene Delacroix, whom I now think a great man.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

as quoted by Arthur Hoebert, in The Barbizon Painters – being the story of the Men of thirty – associate of the National Academy of Design; publishers, Frederick A. Stokes Company, New York 1915, p. 61
undated

Truth, Thinking

“My conscious motivation was to bring German art up to the highest level. I saw what the French artists could do since some time, we could do much more. I spoke in front of our youth, I can say with success.”

Lovis Corinth (1858–1925) German painter

Quote, 1923; in Lovis Corinth, Selbstbiographie, L. Corinth; Hirzel, Leipzig, 1926, p. 189; as quoted in: German Artists' Writings in the XX Century - Lovis Corinth, Autobiographic Writings. Part two http://letteraturaartistica.blogspot.nl/2014/10/german-artists-writings-in-xx-century.html he wrote this quote in 1923 - the year of a retrospective exhibition of great success for him

Youth, Motivation, Time, Success

“Get all the information you can about the Cubists, and about Georges Braque and Pablo Picasso. Go to Kahnweilers' (Paris art gallery). And if he's got photos of recent works – produced after I have left -, buy one or two. Bring us [the Futurists in Italy, like Boccioni himself] back all the information you can get.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Quote in Boccioni's letter to Gino Severini, staying in Paris in the Summer of 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 27.
1911

Photo

“The doctrine which thus comes to light, that in art man not only shares literally in the creative office of God, but enriches Nature with new members that express its divine Ground in a still higher form, will seem to many overbold — extravagant and irreverent. But its advocates are neither few nor inconsiderable; it is supported by the greatest names.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.188-9

God, Support, Nature, Light

“Mathematical physics represents the purest image that the view of nature may generate in the human mind; this image presents all the character of the product of art; it begets some unity, it is true and has the quality of sublimity; this image is to physical nature what music is to the thousand noises of which the air is full…”

Théophile de Donder (1872–1957) Belgian physicist

as quoted by Ilya Prigogine in his Autobiography http://nobelprize.org/nobel_prizes/chemistry/laureates/1977/prigogine-autobio.html given at the occasion of Prigogine's 1977 Nobel Prize in Chemistry.

Music, Mathematics, Nature

“When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 100 : in 'My art and My live' (1940 – 1946), Kurt Schwitters.

Boy, Time, Painting, Housing

“A work will be treated as art within a certain circle – that is, within the circle of let's say ten thousand people. There are about ten thousand in the world today who are prepared to take it on face value if you present anything to them as art, they deal with it straight on as art and tell you whether it stimulates them, moves them, or not. Some of them might even buy it... Anyway, it seems to me that within that ring of ten thousand, fortunately, that sincerity issue [the issue: is something art or not] is over. The reason why that issue failed is that it became obvious no one would live a life of art, a life of poverty, just to pull somebody's legs. In other words, there were compensating sacrifices for what people did.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 18

Life, People, World, Sincerity

“Cute,” she said, smiling. “If the liberal arts do nothing else they provide engaging metaphors for the thinking they displace.”

Roger Zelazny (1937–1995) American speculative fiction writer

Home is the Hangman (1975)

Smile, Thinking

“Cookery is become an art, a noble science; cooks are gentlemen.”

Robert Burton book The Anatomy of Melancholy

Section 2, member 2, subsection 2.
The Anatomy of Melancholy (1621), Part I

Science, Cooking

“Systems science and technology constitute one aspect of systems thinking, but the humanities and arts make up the other. The fact that design plays such a large part in the systemic treatment of problems makes it apparent that art has a major role in it as well. Ethics and aesthetics are integral aspects of evaluating systems… the systems approach involves the pursuit of truth (science) and its effective use (technology), plenty (economics), the good (ethics and morality), and beauty and fun (aesthetics). To compare systems methodology with that of any of the so-called ‘hard’ disciplines—for example, physics—is to misunderstand the nature of systems. The worry is not that the systems approach is not scientific in the sense which physics or chemistry or biology is, but that some try to make it scientific in that sense. To the extent they succeed, they destroy it.”

Russell L. Ackoff (1919–2009) Scientist

Ackoff (1999). "Disciplines, the two cultures and the scianities". Systems Research and Behavioral Science. 16 (6), p. 537. Cited in: Sherryl Stalinski (2005) A Systems View of Social Systems, Culture and Communities. Saybrook Graduate School. p. 5.
1990s

Truth, Beauty, Nature, Problem

“my art cannot be understood primarily by thinking. My art touches people who are in tune with my mode of thinking. But it is clear that people cannot understand my art by intellectual processes alone, because no art can be experienced in that way.”

Joseph Beuys (1921–1986) German visual artist

Quote in interview with Willoughby Sharp, 1969; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 212, note vii
1960's

People, Way, Understanding, Thinking

“I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to A. M. Stols, 26 March 1932; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 222
1930's

Life, Effort, Time

“The works of 'abstract' art are subtle creations of order out of simple contrasting elements.”

Jan Tschichold (1902–1974) German graphic designer

Asymmetric Typography (1935)

“To eliminate sex from a book is to eliminate the great creative force in the world. Out of the sexual instinct rises all the art, you know. … No eunuch ever wrote a book.”

Taylor Caldwell (1900–1985) Novelist

1970s-, The Captains, the Kings, and Taylor Caldwell (1978)

Books, World, Sex

“Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it... Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

Reality, Effort, Light, Sun

“The day wears heavily, — why, then, ignore it;
Peace is the soul's desire, — such thoughts restore it;
The truth thou art, — it needs not implore it.”

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

Life Without and Life Within (1859), The One In All

Truth, Peace, Soul

“I have come to believe that a great teacher is a great artist and that there are as few as there are any other great artists. It might even be the greatest of the arts since the medium is the human mind and spirit.”

John Steinbeck (1902–1968) American writer

"...like captured fireflies" (1955); also published in America and Americans and Selected Nonfiction (2003), p. 142

Teachers

“Kandinsky points out [in his book On the Spiritual in Art] that Theosophy (in its true sense; not as it generally appears) is yet another expression of the same spiritual movement which we are now seeing in painting.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In 'De Nieuwe beelding in de Schilderkunst', Piet Mondriaan, 'De Stijl' No. 1, October 1917, p. 54
1910's

Books, Sense, Appearance, Painting

“Where the writer produces that combination of perfect technique, human interest, and thruth, and can add to it that supreme touch, the perfection of art has been attained.”

Ernest Dimnet (1866–1954) French writer

Source: What we live by (1932), p. 129

Perfection

“It is said that life imitates art, and in FPJ's case that was true. He played tough, honest heroes who fought for the common tao; and as someone aspiring for the most powerful office in the land, he exhibited those same qualities, and was supported by millions of his countrymen.”

Francis Escudero (1969) Filipino politician

2009, Statement: Remembering the King

Life, Support

“Windelband, the historian of philosophy, in his essay on the meaning of philosophy (Was ist Philosophie? in the first volume of his Präludien) tells us that "the history of the word 'philosophy' is the history of the cultural significance of science." He continues: "When scientific thought attains an independent existence as a desire for knowledge, it takes the name of philosophy; when subsequently knowledge as a whole divides into its various branches, philosophy is the general knowledge of the world that embraces all other knowledge. As soon as scientific thought stoops again to becoming a means to ethics or religious contemplation, philosophy is transformed into an art of life or into a formulation of religious beliefs. And when afterwards the scientific life regains its liberty, philosophy acquires once again its character as an independent knowledge of the world, and in so far as it abandons the attempt to solve this problem, it is changed into a theory of knowledge itself." Here you have a brief recapitulation of the history of philosophy from Thales to Kant, including the medieval scholasticism upon which it endeavored to establish religious beliefs. But has philosophy no other office to perform, and may not its office be to reflect upon the tragic sense of life itself, such as we have been studying it, to formulate this conflict between reason and faith, between science and religion, and deliberately to perpetuate this conflict?”

Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher

The Tragic Sense of Life (1913), Conclusion : Don Quixote in the Contemporary European Tragi-Comedy

Life, World, Faith, Religion

“Craft, I would argue, is not an essential part of art, though skill is. That skill may indeed find its expression in draughtsmanship or carving, realised through the hand of the artist, but it may also be directed towards the selection of material or the choice of an expert fabricator.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Parting

“Studies in painting: Non. He learned to express himself by means of art in the same way as the child learns to talk. No teaching is needed for the one who is born an artist, and even the expression 'self-taught' is a phony, he thinks.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in a questionnaire, Max Ernst filled out in 1948, the U.S; as cited in Max Ernst: a Retrospective, ed. Werner Spies & Sabine Rewald, Metropolitan Museum of Art, New York 2005, p. 7
1936 - 1950

Way, Thinking, Study, Learning

“My art is going well. I have a feeling of satisfaction about it. Afternoons I stroll around the city [Paris] taking a good look at everything and trying to absorb it all... I went back to the Notre Dame again. Such wonderful Gothic detailing, those monstrous gargoyles, each one with its own character and face... Directly behind Notre Dame, almost encircled by the Seine, lies the morgue. Day after day they fish corpses from the river here, people who don't want to get on living.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her sister Milly, from Paris, 29 February 1900; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 200
1900 - 1905

People, Feeling, Fish

“But since it is better to have perception or to have omnipotence, to be pitiful or to be without passions, than not to have these attributes; how hast Thou perception, if Thou art not a body? or omnipotence, if Thou canst not do everything? or how art Thou at one and the same time pitiful and without passions? For if only bodily things have perception, since the senses with which we perceive belong and attach to the body; how canst Thou have perception, since Thou art not a body but the Supreme Spirit, which is higher than a body can be? But if perception is only knowledge or a means towards knowledge; since he who perceives, has knowledge thereby, according to the special character of the senses, by sight of colours, by taste of savours and so forth: then whatsoever has knowledge in whatsoever manner may be said without impropriety in some sense to perceive. Therefore, O Lord, although Thou art not a body, yet of a truth Thou hast in this sense perception in the highest degree, since Thou knowest all things in the highest degree; but not in the sense wherein an animal that has knowledge by means of bodily feeling is said to have perception.”

Anselm of Canterbury Proslogion

Proslogion, chapter 5 by Anselm of Canterbury, translated by Clement C. J. Webb (1903).

Truth, Feeling, Knowledge, Sense

“In Art we know nothing for certain.”

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

Article - Forming Formalism : The Post Impressionost Exhibition Burlington Magazine 1920
Art Quotes

“If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.”

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

Source: Art on the Edge, (1975), p. 260, "What's New: Ritual Revolution"

Past

“Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight... When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204
1906 + 1907

Thinking, Sleep, Painting, Night

“The Bobbit case, which brought to life the ancient mythic archetype of woman as castrator, demonstrated that women are as aggressive as men and that sex is a dark, dangerous force of nature. But of course the feminist establishment, stuck in its battered-woman blinders, learned nothing as usual from this lurid refutation of its normal views. Classic art works like Bizet’s Carmen tell us more about the irrationality of love, jealousy and revenge than do all the pat formulas of the counseling industry.”

Camille Paglia (1947) American writer

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 42

Love, Life, Women, Men

“The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts.”

David Hare (1947) British writer

"The Playwright as Historian", Sunday Times Magazine, November 26, 1978.

Way

“Take playfulness seriously, and you will apprehend what is at the center and rediscover your revered art in a more sublime light.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Deute den lieblichen Schein und mache Ernst aus dem Spiel, so wirst du das Centrum fassen und die verehrte Kunst in höherm Lichte wieder finden.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 109

Light

“We saw ourselves as anthropologists from the twenty-first century inhabiting a time module set somewhere in the dark ages of the 1960s. On this space colony we were attempting to create a new paganism and a new dedication to life as art.”

Timothy Leary (1920–1996) American psychologist

On the Castalia Institute in Millbrook, New York; quoted in Storming Heaven : LSD and the American Dream (1998) by Jay Stevens, p. 208

Life, Age, Time

“An ad that pretends to be art is — at absolute best — like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what's sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill's real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair.”

David Foster Wallace book A Supposedly Fun Thing I'll Never Do Again

A Supposedly Fun Thing I'll Never Do Again
Essays

Smile, Feeling, Perfection, Despair

“I was never interested in being just modern – I mean in creating a new style. I simply painted in whatever style seemed to suit me best. But Kandinsky was a thinker and had to express his ideas in words, so he constantly formulated new theories of art which he liked to discuss with Kubín, who was also a thinker..”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 118

Idea, Painting

“[JawlenskyPickWerefkin] Yes, we [ Marianne Werefkin and Gabriéle] shared very much the same tastes and ideas, when we lived together in this house (the so-called 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky [living with Marianne Werefkin] didn't always approve her work... Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin' [famous Russian painter Ilya Repin ] and their common former teacher in Russia]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator, a believer in a new kind of art of the future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), pp. 118-119

Color, Intelligence, Idea, Teachers

“Among the arts of expression one is suited to this purpose, another to that. It is hard to express movement in stone or rest in music. It is harder still to express permanence in speech.”

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

The Usurpation Of Language (1910)

Music

“Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.”

Ernest Dimnet (1866–1954) French writer

Source: What we live by (1932), p. 141

Soul

“Why there are so many great actresses, so few great woman writers? The erotic urge that lies at the bottom of all art has a feminine and a masculine character. Feminine is the urge to be; masculine the urge to do. Interpretative art always has more of the feminine about it”

Max Frisch (1911–1991) Swiss playwright and novelist

Sketchbook 1946-1949

“The boy was unquestionably a great natural talent, if not an outright genius, in the art of complaint—tirelessly inventive, and completely shameless in the matter of interpreting his dissatisfactions as someone else’s—anyone else’s—criminal failures to content him.”

Michael Shea book Nifft the Lean

Part 3, Chapter 18 (p. 215)
Nifft the Lean (1982)

Boy, Failure, Nature

“The longer my production moves in a definite direction, the less gaily it progresses. But just now something new seems to be happening to the stream: it is broadening into a lake. I hope it will not lack a corresponding depth. I was the faithful image of a part of art history; I moved towards Impressionism and beyond it. I don't want to say that I grew out of it; I hope this is not so... In lucid moments, I now have a clear view of twelve years of the history of my inner self. First the cramped self, that self with the big blinkers, then the disappearance of the blinkers and the self, now gradually the re-emergence of a self without blinkers. It is good that one didn't know this in advance.”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 899; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html 1911 - 1914

Faith, Hope, History, Parting

“A long period of distress and anarchy, in which empire, and arts, and riches, had migrated from the banks of the Tiber, was incapable of restoring or adorning the city; and, as all that is human must retrograde if it do not advance, every successive age must have hastened the ruin of the works of antiquity.”

Edward Gibbon (1737–1794) English historian and Member of Parliament

Vol. 1, Chap. 71.
The Decline And Fall Of The Roman Empire: Volume 1 (1776)

Age, Success

“Certainly thinking is pleasant, but the pleasure of thinking must be subordinated to the art of making decisions.”

Alain (1868–1951) French philosopher

Ceremonies
Alain On Happiness (1928)

Pleasure, Thinking, Decision

“O Time! whose verdicts mock our own,
The only righteous judge art thou!”

Thomas William Parsons (1819–1892) American writer

Time

“The distinguishing quality of most primitive art is the intense vitality which it possesses, because it has been made by a people in close touch with life, who felt simply and strongly, and whose art was a means of expressing vitally important beliefs, hopes and fears. Negro sculpture is essentially religious and cannot be detached from the tribal gods, priests and ancient rituals. When civilization destroyed these things, it also destroyed their Art. These carvings have a serious and pathetic power – a bigness and monumental simplicity born of the racial patience in bearing life with all its terror and mystery....(But as always, it was the artist who was the first to see in them a new thing – a new plastic conception – an artistic worth – a value as art – their importance as art).”

Henry Moore (1898–1986) English artist

1925 - 1940
Source: Primitive African Sculpture, Foreword, Lefevre Galleries, London 1933, p. ?

Life, God, People, Fear

“I don’t really care that much about if I want to be more successful or less successful in art, because I never think life and art should be separate. What’s life if you don’t have conversation and joy and anger?”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei: 'Every day I think, this will be the day I get taken in again...', 2011

Life, Thinking, Success, Joy

“Concept art was meant to replace all of mathematics with an endeavor which involved a Rorschach-blot semantics; and which did not claim to be cognitive, at least not in the inherited sense. Mathematics had already been disconnected from claims of realism; and I was extending that disavowal to a disconnection from claims of a priori truth. Concept art's value consisted in beauty, a beauty which was non-sentimental. Later I would say that its value consisted in "the invention of new mental abilities."”

Henry Flynt (1940) American musician

Popularity had nothing to do with whether this avenue was worth taking. Henry Flynt. " The Crystallization of Concept Art in 1961 http://www.henryflynt.org/meta_tech/crystal.html," at henryflynt.org, 1994.

Truth, Beauty, Mathematics, Sense

“I'm not arguing, incidentally, for a confusion of art and architecture, a fashion now, but for a coherent relationship. Therefore, within the capacity of one person or of a small group, the relationship of all visible things should be considered.”

Donald Judd (1928–1994) artist

Source: 1980, "Art and Architecture," 1987, p. 196

Fashion, Personality

“Woman's flirtatious arts of self-concealment mean man's approach must take the form of rape.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 276

“.. Oh my dear friend, you whose voice called me towards my beautiful past, oh how I love you because you are young, you serve the idea, you understand the beauty of a life devoted completely to abstraction. Oh the devil you have done me, and the good of this devil. There is an atrocious page in my existence... I am not a woman. Neither love nor the family satisfies me. I don’t like the baby. I detest the household. I love all works of the human genius, I adore art the beauties of nature and of the heart. The beautiful, the beautiful in all such as love and such as life.”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Love, Life, Family, Beauty

“You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work.
But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful."”

Le Corbusier (1887–1965) architect, designer, urbanist, and writer

That is Architecture. Art enters in.
Vers une architecture [Towards an Architecture] (1923)

Happiness, Beauty, Heart, Housing

“Just at the time I got your letter Mr. Angus sent me the 'Scotsman' [magazine]. You say some critics have thought it fair to make it the basis of a personal attack, and it is very critic-like. Critic means knife, means dissection, means wisdom, means perfection. Art is stupid, art-less. That is a hard job for the critic to understand. I like your book because it is 'stupid', like Japanese; which means done for the love of it in itself; not for gain or success. You don't go to criticise a Japanese drawing and say it is out of shape, out of drawing, no perspective nor anatomy. This is only for the critic to show his knowledge by killing the things; those stupid fellows do harm, like Whistler says, with their learnings. They must have schools and applications of knowledge. Thackeray calls them scavengers - scavengers are at least necessary, those fellows are for no good..”

Matthijs Maris (1839–1917) Dutch painter

Quote of Matthijs Maris, in his letter to David Croal Thomson (Oct. 1890), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxv p. BMxviii

Love, Wisdom, Books, Stupidity

“It is commonly thought that everything that is can be put into words. But there is a wide range of emotional response that we make that cannot be put into words. We are so used to making these emotional responses that we are not consciously aware of them till they are represented in art work.”

Agnes Martin (1912–2004) American artist

In 'Beauty Is the Mystery of Life', 1989; a lecture by Agnes Martin, Carnegie Museum of Art, Pittsburgh, 1989. Printed in Agnes Martin, eds. Morris and Bell, pp. 158–59
1980 - 2000