Quotes about art
page 49

“It should be said that such an art would be neither more false nor more true than classical art.”

Jean Metzinger (1883–1956) French painter

Cubism was born

“if the subject of art
will be a broken jug
a small broken soul
with a great self-pity

what will remain of us
will be like tears of lovers
in a small dirty hotel
when wallpapers dawn”

Zbigniew Herbert (1924–1998) Polish writer

Quoes

Soul, Lovers, Tear

“Schools have no use except for discerning the analytic procedures of art. No school is capable of pressing on to a synthesis in isolation. Painting can not, without falling into abstraction, let a partial aspect of art dominate, whether it be drawing, color, composition, or any other one of the extraordinary multiplicity of means the totality of which alone constitutes this art.”

Gustave Courbet (1819–1877) French painter

1860s, Realist Manifesto' - an open letter, 1861

School, Color, Drawing, Painting

“I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies…”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), pp. 109-110

Way, Thinking, Painting

“Time and persistence has shown me that I can succeed at sharing my art with others as a musician while running my own music business. And that kind of success is as good as I could have ever wished for.”

Bradley Joseph (1965) Composer, pianist, keyboardist, arranger, producer, recording artist

[Janus, Cicily, Radinsky, Ned, http://newfaceofjazz.com/?page_id=594, New Faces of Jazz: Bradley Joseph, (newfaceofjazz.com), 2010-08-01]

Music, Business, Time, Success

“My deepest intention is that some day a sufferer, no matter how afflicted, will be able to look at a painting, at a photograph, and be instantly healed. That is my ultimate hope. Not to be realized in this life, maybe, but that is what I believe art can do.”

John Diamond (doctor) (1934) Australian doctor

Source: Art for Healing: Guided Painting Then and Now (2011), p. 39

Life, Hope, Affliction, Suffering

“I remember an old proverb. It says that youth thinks itself wise just as drunk men think themselves sober. Youth is not wise! Youth knows nothing about life! Youth knows nothing about anything except for massive cliches which for the most part through the media of pop songs are just foisted on them by middle-age entrepreneurs and exploiters who should know better. When we start thinking that pop music is close to God, then we'll think pop music is aesthetically better than it is. And it's only the aesthetic value of pop music that we're really concerned. I mean the only way we can judge Wagner or Beethoven or any other composer is aesthetically. We don't regard Wagner or Beethoven nor Shakespeare or Milton as great teachers. When we start claiming for Lennon or McCartney or Maharishi or any other of these pop prophets the ability to transport us to a region where God becomes manifest then I see red. We're satisfied with our little long playing record, ten pop numbers or thereabouts a side. This is great art, we've been told this by the great pundits of our age. And in consequence why should we bother to learn? There's nothing more delightful than to be told: "You don't have to learn, my boy. There's nothing in it. Modern art? There's nothing in it." When you're told these things you sit down with a sigh of relief: "Thank God I don't have to learn, I don't have to travel, I don't have to exert myself in the slightest. I am what I am. Youth is youth. Pop is pop. There's no need to progress. There's no need to do anything. Let us sit down, smoke our marijuana (an admirable thing in itself but not the end of anything), let us listen to our records and life has become a single moment. And the single moment is eternity. We're with God. Finis!”

Anthony Burgess (1917–1993) English writer

Pop Music

Life, Men, God, Youth

“There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones.... and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.”

Emil Nolde (1867–1956) German artist

Nolde's written note in 1942; as quoted in Nolde: Forbidden Pictures [exhibition catalog], Marlsborough Fine Art Ltd., London, 1970, p. 9
1921 - 1956

Happiness, Color, Soul, Hell

“Let's finally try to talk about a system that transforms all the social organism into a work of art, in which the entire process of work is included, whether it's work by Francisco Goya or Kounellis or mine, as well as agriculture, the sciences, or education or technology, something in which the principle of production and consumption really takes on a form of quality. One must not only transform the creation of paintings or sculptures, but the entire social form. It's a gigantic program.”

Joseph Beuys (1921–1986) German visual artist

Quote of ‎Joseph Beuys, from The felt hat: Joseph Beuys, a life told, Lucrezia De Domizio Durini, p. 201
1980's

Education, Science, Painting

“Every Manifestation is but a revelation of Thine Own Self, with each of Whom we have truly appeared and we bow down in adoration before Thee. Thou hast been, O my Best Beloved, and shalt ever be my witness throughout bygone times and in the days to come. Verily, Thou art the All-Powerful, the Ever-Faithful, the Omnipotent.”

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

Tablet to ‘Him Who Will Be Made Manifest’

Faith, Appearance, Time

“Art should be artless, not heartless.”

Mervyn Peake book Titus Alone

Source: Titus Alone (1959), Chapter 24 (p. 845)

“In my opinion, Gustav Mahler's work is one of the most important and interesting products in the history of modern creative arts.”

Richard Strauss (1864–1949) German composer and orchestra director

Gustav Mahler, page 78. Originally written for a volume dedicated to Mahler edited by Paul Stephan, Munich 1910.
Recollections and Reflections

History

“What fascinates me about Van Gogh is that his sun dries up everything. Maybe he was melodramatic but my point really is.... if you are a painter you have to face that self-consciousness. You get dirty and pathetic; very miserable. It makes me self-conscious to talk about it. There is something corrupt on art. Nothing do with any 'ism' but a thing in nature loses its innocence and becomes a grotesque thing.... maybe this difficulty is personal with me, and maybe it is something that other painters have in common. Perhaps it is also something of today.”

Willem de Kooning (1904–1997) Dutch painter

in conversation with W.C. Seitz
Quote from Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 121.
1980's

Nature, Sun, Personality

“Magic is the science and the art of causing change to occur in conformity with will.”

Peter J. Carroll (1953) British occultist

Source: Liber Null & Psychonaut (1987), p. 15; this is a slight paraphrase of the definition of Aleister Crowley in Magick in Theory and Practice: Magick is the Science and Art of causing Change to occur in conformity with Will.

Science, Change

“I have been living a hermit-life, though always with my pencil in my hand... How much real delight have I had with the study of landscape this summer! Either I am myself improved in the art of seeing nature, which Sir Joshua call painting, or nature has unveiled her beauties to me less fastidiously. Perhaps there is something of both, so we will divide the compliment.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's letter to Rev. John Fisher (22 July 1812), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

Life, Beauty, Nature, Study

“I performed at a show at the MoMA. There was this big dinner there, and I was seated in this hall with the mayor of New York and all these extremely wealthy art-supporting and art-buying people. There was a piece of work hanging in the hall-it was a fan. This fan was supposed to swing by the momentum of its own propeller. So, while we were having dinner, the fan was stopped, and the guy next to me, a curator at P. S.1, said, "Look, this is what art symbolizes today." Like, that piece of art is supposed to be moving, but just to have dinner we've stopped the art. That's what New York is like today. You can't have real art happen in an institution because rich people can make the world stop. The stuff on the street is a lot more interesting.”

M.I.A. (1975) British recording artist, songwriter, painter and director

Interview http://www.interviewmagazine.com/art/kehinde-wiley/#page2 with Kehinde Wiley on the "recycled object" for Interview magazine (2008) Sourced quotes

People, World, Guy, Support

“The history of the Victorian Age will never be written: we know too much about it. For ignorance is the first requisite of the historian – ignorance, which simplifies and clarifies, which selects and omits, with a placid perfection unattainable by the highest art.”

Lytton Strachey book Eminent Victorians

Preface.
Eminent Victorians (1918)

Age, History, Perfection

“The successful construction of all machinery depends on the perfection of the tools employed; and whoever is a master in the arts of tool-making possesses the key to the construction of all machines… The contrivance and construction of tools must therefore ever stand at the head of the industrial arts.”

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. 173; As cited in: Samuel Smiles (1864) Industrial biography; iron-workers and tool-makers http://books.google.com/books?id=5trBcaXuazgC&pg=PA245, p. 245

Success, Dependency, Perfection

“How will it be with my work a year hence? Well, Mauve [van Gogh's cousin and art-teacher, in The Hague] understands all this and he will give me as much technical advice as he can, - that which fills my head and my heart must be expressed in drawing or pictures.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to brother Theo, from The Hague, The Netherlands in December 1881; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, p. 20 (letter 166) 1880s, 1881

Understanding, Teachers, Heart, Drawing

“O nature, nature, life will not perish! Friends, Helena, life will not perish! It will begin anew with love; it will start out naked and tiny; it will take root in the wilderness, and to it all that we did and built will mean nothing — our towns and factories, our art, our ideas will all mean nothing, and yet life will not perish! Only we have perished. Our houses and machines will be in ruins, our systems will collapse, and the names of our great will fall away like dry leaves. Only you, love, will blossom on this rubbish heap and commit the seed of life to the winds. Now let Thy servant depart in peace, O Lord, for my eyes have beheld — beheld Thy deliverance through love, and life shall not perish!”

Karel Čapek R.U.R.

R.U.R. (1920)

Love, Life, Peace, Idea

“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God. We are well aware that making sense and picturing are artificial, like illusion; but we can never give them up. For belief (thinking out and interpreting the present and the future) is our most important characteristic.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

God, Search, Thinking, Sense

“'BUT science and art! You are denying science and art: that is you are denying that by which humanity lives.' People constantly make this rejoinder to me, and they employ: this method in order to reject my arguments without examination. 'He rejects science and art, he wishes man to revert to a state of savagery - why listen to him or discuss with him?' But this is unjust. Not only do I not repudiate science, that is, the reasonable activity of humanity, and art - the expression of that reasonable activity - but it is just on behalf of that reasonable activity and its expression that I speak, only that It may be possible for mankind to escape from the savage state into which it is rapidly lapsing thanks to the false teaching of our time. It is only on that account that I speak as I do.”

Leo Tolstoy (1828–1910) Russian writer

What then must we do? (1886)

People, Science, Time, Falseness

“Art happens all the time, everywhere. All we have to do is to keep our minds open.”

Jacek Tylicki (1951) American artist

Jacek Tylicki, in "Les Krantz," The New York Art Review, 1988.

Time

“It was like a vacation, one he hadn't planned for, but one that left him feeling more rested than he had in years. For the first time in what seemed like forever, he was choosing the pace of his life rather than his life choosing the pace. Being bored, he decided, was an underrated art form.”

Nicholas Sparks (1965) American writer and novelist

Jeremy Marsh, Chapter 4, p. 52
2000s, At First Sight (2005)

Life, Feeling, Time

“Among other ends, modern art is related to the ideal of Internationalism.”

Robert Motherwell (1915–1991) American artist

American Abstract Expressionism of the 1950's, An Illustrated Survey, Herskovic, Marika; nyschoolpress, 2003, p.238
after 1970

“Being an art form, verse cannot be "free" in the sense of having no limitations or guiding principle.”

William Carlos Williams (1883–1963) American poet

As quoted in Free Verse. Princeton Encyclopedia of Poetry and Poetics 2nd ed (1975)
General sources

Sense

“We should observe the place, the occasion, the temper in which we find the person who listens to us, for if there is much art in speaking to the purpose, there is no less in knowing when to be silent. There is an eloquent silence which serves to approve or to condemn, there is a silence of discretion and of respect. In a word, there is a tone, an air, a manner, which renders everything in conversation agreeable or disagreeable, refined or vulgar.”

François de La Rochefoucauld (1613–1680) French author of maxims and memoirs

Reflections on Various Subjects (1665–1678), V. On Conversation

Silence, Personality

“We believe that the elements in the chemical formula of our creative work, problem, invention, and art, correspond to the challenges of our age.”

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

quote, p. 378
posthumous publications, El Lissitzky, El Lissitzky : Life, Letters, Texts (1967; 1980)

Age, Problem

“I don't really care what people think of me. Whatever anyone may say, I've helped the whole art world, just as Picasso and Dalí have. I've made people aware of painting, which makes them buy more, just like they go buy more records and books once they're exposed.”

Walter Keane (1915–2000) American plagiarist

Page 48.
1965, Cited by Jane Howard

People, Books, World, Thinking

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013

People, Feeling, Business, Freedom

“Art is recuperation
from time. I lie back
convalescing upon the prospect
of a harvest already at hand.”

R.S. Thomas (1913–2000) Welsh poet

"Pissaro: Kitchen Garden, Trees in Bloom", p. 41
Between Here and Now (1981)

Lie, Time

“Art deals with profound and simple moods.... Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.... he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.”

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

quote from an interview in 'A Paris painter', H. Hapgood; in 'Globe and commercial Advertiser', 20 February 1913, p. 8 / 10
1910's

Life, Way, Mood

“Last year I wrote: 'the intensity with which a subject is grasped, that is what makes for beauty in art'. Isn't it also true for love?”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991
1899

Love, Beauty

“Music…is the vapour of art. It is to poetry what revery is to thought, what the fluid is to the liquid, what the ocean of clouds is to the ocean of waves.”

Victor Hugo book William Shakespeare

La musique...est la vapeur de l’art. Elle est à la poésie ce que la rêverie est à la pensée, ce que le fluide est au liquide, ce que l’océan des nuées est à l’océan des ondes.
Part I, Book II, Chapter IV
William Shakespeare (1864)

Music

“Answer me, sycophant, ought you not to have instructed me on one point at least, so essential to be known by a king; namely on the reciprocal duties between the sovereign and his subjects? Ought you not also to have foreseen that I might, at some future period, be compelled to contend with my brothers, sword in hand, for the crown, and for my very existence. Such, as you must well know, has been the fate of the children of almost every king of Hindustan. Did you ever instruct me in the art of war, how to besiege a town, or draw up an army in battle array? Happy for me that I consulted wiser heads than thine on these subjects! Go, withdraw to the village. Henceforth let no person know either who thou art, or what is become of thee.”

Aurangzeb (1618–1707) Sixth Mughal Emperor

François Bernier quoting https://books.google.com/books?id=1SNVqzrDJmIC&pg=PA179 Aurangzeb's statement to his tutor. Also in The Moghul Saint of Insanity https://books.google.com/books?id=_o_WCgAAQBAJ&pg=PA15 by Farzana Moon, p. 15 Also in European travel accounts during the reigns of Shahjahan and Aurangzeb by Meera Nanda, p.132 Also in History of Education in India by Suresh Chandra Ghosh, p. 200. Also inEncyclopaedia Indica: Shah Jahan, the fifth Mughal Emperor by Shyam Singh Shashi, p. 75 Quotes from late medieval histories

Fate, War, Happiness, Children

“The first two things to study are form and values. For me, these are the bases of what is serious art. Color and finish put charm into one’s work.... it seems to me very important to begin by an indication of the darkest values (assuming that the canvas is white), and to continue in order to the lightest value. From the darkest to the lightest I would establish twenty shades... Never lose sight of that first impression by which you were moved. Begin by determining your composition. Then the values – the relation of the forms to the values. These are the basis. Then the color, and finally the finish.”

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

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 240
1820 - 1850

Color, Study

“The laws of art are eternal and don't change at all, as the moral laws don't change in human beings. [arguing with Franz Marc who demanded in 'Der Blaue Reiter' circa 1912 a new modern art, in relation to its own - changing - time].”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

as quoted in the exhibition, 'Expressionisten, die Avantgarde in Deutschland 1905 - 1920', catalog Nationalgalerie Berlin, DDR, 1986, p. 109
1900s - 1920s

Law, Change, Time

“Speak low to me, my Saviour, low and sweet,
From out the hallelujahs, sweet and low,
Lest I should fear, and fall, and miss Thee so,
Who art not missed by any that entreat.”

Elizabeth Barrett Browning (1806–1861) English poet, author

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 247.

Fear

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

Painting

“I feel the conflict still exists in me – but not causing me any difficulty in working, as it did immediately after returning from Italy [in 1925]. In fact I ask myself is this [the] conflict what makes things happen? For it seems to me now that this conflict between the excitement & great impression I got from Mexican sculpture & the love & sympathy I felt for Italian art, represents two opposing sides in me, the 'tough' & the 'tender', & that many other artists have had the same two conflicting sides in their natures.... and really I see no difficulty in appreciating both sides & finding them in the same artist. Perhaps an obvious & continuous synthesis will eventually derive in my own work – I can’t say – I can only work as I feel & believe at the time I do the work.”

Henry Moore (1898–1986) English artist

in 'Undated notes' 1950; as quoted in The Art of Henry Moore, Will Grohmann, Thames and Hudson, London 1960, n.p.
1940 - 1955

Love, Feeling, Nature, Time

“The desire to be loved is really death when it comes to art.”

David Cronenberg (1943) Canadian film director, screenwriter and actor

As quoted in "interview with Canadian Broadcasting Corporation/CBC Radio program Q," http://www.cbc.ca/q/blog/2012/06/07/david-cronenberg-on-cosmopolis/ (7 June 2012)

Love, Death

“Art never seems to make me peaceful or pure. I always seem to be wrapped in the melodrama of vulgarity. I do not think.... of art as a situation of comfort.”

Willem de Kooning (1904–1997) Dutch painter

Original: Original in Dutch: Kunst lijkt me nooit volledig of zuiver te maken. Het is of ik altijd verwikkeld ben in het melodrama van de alledaagsheid. [...]
Source: Quote of De Kooning from Beyond the Aesthetic, Robert Motherwell, Design 47, April 1946, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 101.

Peace, Thinking

“The history of art and art’s condition at any time are pretty messy. They should stay that way. One can think about them as much as one likes, but they won’t become neater; neatness isn’t even a very good reason for thinking about them. A lot of things just can’t be connected.”

Donald Judd (1928–1994) artist

Donald Judd, "Local History" (1964); Quoted in: Judd (1975, p. 151); and cited in: David Raskin. Donald Judd. New Haven: Yale University Press, 2010.
1960s

Way, History, Thinking, Time

“For me, as I later came to say, cybernetics is the art of creating equilibrium in a world of possibilities and constraints. This is not just a romantic description, it portrays the new way of thinking quite accurately. Cybernetics differs from the traditional scientific procedure, because it does not try to explain phenomena by searching for their causes, but rather by specifying the constraints that determine the direction of their development.”

Ernst von Glasersfeld (1917–2010) German philosopher

Source: Partial Memories: Sketches from an Improbable Life, 2010, p. 136

World, Way, Search, Thinking

“Clement Greenberg talked about the ideas or possibilities of painting in his - I think -, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it's certainly valid. Yves Klein did the empty gallery. He sold 'air', and that was a conceptualized art, I guess.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 122

Idea, Thinking, Painting

“Art is not for the personal satisfaction of one or the other, but art wants to return all what’s in life… Art wants to give back everything what’s in our lives. The more comprehensive the artist stands in life the more powerful his work will speak, and therefore a work of art is a measure of the mental size of his creator.”

Bram van Velde (1895–1981) Dutch painter

Letter to H. E. Kramer, 25-10-1926, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 44 (English translation: Charlotte Burgmans)
1920's

Life, Personality

“When I stand before the throne,
Dressed in beauty not my own,
When I see Thee as Thou art,
Love Thee with unsinning heart,
Then, Lord, shall I fully know —
Not till then — how much I owe.”

Robert Murray M'Cheyne (1813–1843) British writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 94.

Love, Beauty, Heart

“Life is more important than art — quantity is only important in that the amount of activity is greater not the number of works.”

Patrick Swift (1927–1983) British artist

Notebooks

Life

“Techniques are performed upon raw materials. The state of art of analyzing the characteristics of the raw materials is likely to determine what kind of technology will be used. (Tools are also necessary, of course, but by and large, the construction of tools is a simpler problem than the analysis of the nature of the material and generally follows the analysis.) To understand the nature of the material means to be able to control it better and achieve predictability and efficiency in transformation. We are not referring here to the 'essence of the material, only the way the organization perceives it to be … The other relevant characteristic of the raw material, besides the understandability of Its nature, is Its stability and variability; that is, whether the material can be treated in a standardized fashion or whether continual adjustment to it is necessary. Organizations uniformly seek to standardize their raw material In order to minimize exceptional situations. This is the point of de-individualizing processes found in military academies, monasteries and prisons, and the superiority of the synthetic shoe material Corfam over leather.”

Charles Perrow (1925–2019) American sociologist

Source: 1960s, "A Framework for the Comparative Analysis of Organizations", 1967, p. 195

Shoe, Way, Fashion, Understanding

“Sir Henry Wotton was a most dear lover and a frequent practiser of the Art of Angling; of which he would say, "'T was an employment for his idle time, which was then not idly spent, a rest to his mind, a cheerer of his spirits, a diverter of sadness, a calmer of unquiet thoughts, a moderator of passions, a procurer of contentedness;" and "that it begat habits of peace and patience in those that professed and practised it."”

Izaak Walton book The Compleat Angler

Part I, ch. 1.
The Compleat Angler (1653-1655)

Sadness, Peace, Lovers, Passion

“When I was young, art for me was a new religion. Now I see the aims and ends of art as less grand. If I can catch the play of light on a wall, and catch it just so, that is enough for me. I don’t want to write about human behavior. Art now seems to me in many ways the absolute opposite of psychology. It’s simply saying, This is how it is. This is how it looks, how it feels. To describe things well is far more worthwhile than the kind of cheap psychologizing, or even expensive psychologizing, that the novel so often indulges in.”

John Banville (1945) Irish writer

John Banville, The Art of Fiction No. 200 (2009)

Religion, Way, Behavior, Feeling

“The art of management has been defined, "As knowing exactly what you want men to do, and then seeing that they do it in the best and cheapest way." No concise definition can fully describe an art, but the relations between employers and men form without question the most important part of this art. In considering the subject, therefore, until this part of the problem has been fully discussed, the remainder of the art may be left in the background.”

Frederick Winslow Taylor (1856–1915) American mechanical engineer and tennis player

Source: Shop Management, 1903, p. 1343.

Men, Way, Question, Problem

“Swept up in a grand illusion that I might be able to eat, have a roof over my head, own some pretty dresses and realize, in a vastly heady way, that I could make a living doing my art, which was the only dream I ever had, what could I say but "Yes, where do I sign?"”

Margaret Cho (1968) American stand-up comedian

From Her Books, I Have Chosen To Stay And Fight, FOLLOWING YOUR DREAMS

Dreams, Way

“But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn’t really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was…”

Willem de Kooning (1904–1997) Dutch painter

Quote from 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

Life, People, Idea, Mood

“Goethe said that the worst thing in art is technical facility accompanied by triteness. Many an artist, like God, has never needed to think twice about anything. His works are the mad scene from Giselle, on ice skates: he weeps, pulls out his hair—holding his wrists like Lifar—and tells you what Life is, all at a gliding forty miles an hour.”

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

“Poetry, Unlimited”, p. 159
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life, God, Thinking, Madness

““His eyes were the unrivaled wonder of Abhinaya”
- P. T. Narendra Menon (connoisseur of art), 1990”

Mani Madhava Chakyar (1899–1990) Indian actor

Source: Abhinaya and Netrābhinaya, P.T. Narendra Menon, Kulapati of Koodiyattam, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).

“Letting a hundred flowers blossom and a hundred schools of thought contend is the policy for promoting the progress of the arts and the sciences and a flourishing socialist culture in our land. Different forms and styles in art should develop freely and different schools in science should contend freely. We think that it is harmful to the growth of art and science if administrative measures are used to impose one particular style of art or school of thought and to ban another. Questions of right and wrong in the arts and sciences should be settled through free discussion in artistic and scientific circles and through practical work in these fields. They should not be settled in summary fashion.”

Mao Zedong (1893–1976) Chairman of the Central Committee of the Communist Party of China

On the Correct Handling of Contradictions Among the People
Source: (zh-CN) 百花齐放、百家争鸣的方针，是促进艺术发展和科学进步的方针，是促进我国的社会主义文化繁荣的方针。艺术上不同的形式和风格可以自由发展，科学上不同的学派可以自由争论。利用行政力量，强制推行一种风格，一种学派，禁止另一种风格，另一种学派，我们认为会有害于艺术和科学的发展。艺术和科学中的是非问题，应当通过艺术界科学界的自由讨论去解决，通过艺术和科学的实践去解决，而不应当采取简单的方法去解决。

School, Flowers, Fashion, Question

“Art is complex, I said to Rodin, who smiled because he felt that I was struggling with nature.... the beauty of Rodin’s art is.... in the thoughts he embodied. As for me, I just take a walk on the beach. A young girl appears. From that girl walking there emanates a soul. That is That is at I want to give my statue, that thing alive, yet immaterial. In composing the figure of one young girl I must give the impression that there are all young girls. From the spirit, my feeling passes into my fingers”

Aristide Maillol (1861–1944) sculptor from France

Quote in 'Aristide Maillol', ed. Andrew C. Ritchie, Albright Art Gallery N. Y. 1945, p. 31 + 45; as cited by Angelo Carnafa, in 'A sculpture of interior Solitude', Associated University Presse, 1999, p. 167

Smile, Beauty, Feeling, Soul

“What fascinates me about Duchamp is the idea of tearing down the wall between the art object and reality.”

Anselm Kiefer (1945) German painter and sculptor

Source: "Anselm Kiefer and the Philosophy of Martin Heidegger" Matthew Biro, Cambridge University Press 1998, p. 304

Idea, Reality, Tear

“The psychedelic community has not yet recognized or named itself as a community. We are well behind gays and black people and all those other mi-… we are still trying to figure out if we are a community. And if we are a community, and we have a domain of action, I think where it lies - it's not that we are all supposed to become dope dealers, it's that we are all supposed to become artists; that the transformation of culture through art is the proper understanding of what you can do with psychedelics besides blow your own mind. And I really think, you know, what we need to do is put the art-pedal to the floor, and understand that this is art - we are involved in some kind of enormous piece of performance art called Western civilization and, you know, it's been a C-minus performance so far… And they are just about to reach out with the hook and drag us offstage, unless we begin pulling rabbits out of the hat pretty furiously.”

Terence McKenna (1946–2000) American ethnobotanist

Global Perspectives and Psychedelic Poetics (1994)

People, Communication, Understanding, Thinking

“It is ugly ducklings, grown either into swans or into remarkably big, remarkably ugly ducks, who are responsible for most works of art; and yet how few of these give a truthful account of what it was like to be an ugly duckling!—it is almost as if the grown, successful swan had repressed most of the memories of the duckling’s miserable, embarrassing, magical beginnings. (The memories are deeply humiliating in two ways: they remind the adult that he was once more ignorant and gullible and emotional than he is; and they remind him that he once was, potentially, far more than he is.)”

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

“An Unread Book”, p. 19
The Third Book of Criticism (1969)

Truth, Way, Memory, Success

“Since I was trying to teach "style" of thinking in science and engineering, and "style" is an art, I should therefore copy the methods of teaching used for the other arts—once the fundamentals have been learned. How to become a great painter cannot be taught in words… Art teachers usually let the advanced student paint, and then make suggestions… more or less as the points arise in the student's head—which is where learning is supposed to occur!”

Richard Hamming (1915–1998) American mathematician and information theorist

The Art of Doing Science and Engineering: Learning to Learn (1991)

Thinking, Learning, Teachers, Science

“The defects of rationalistic, critical philosophy are much more important than they appear at first sight. By failing to take into account political faculties and the art of eloquence, this philosophy disregards two of the most important branches of human activity. … Vico formulates this idea clearly in De studiorum ratione: “But this order of studies brings with it the disadvantage for young people, that in the future they will neither show intelligence in civil life, not be able to enliven a speech with characteristic colors and warm it with the fire of emotions.””

Ernesto Grassi (1902–1991) Italian philosopher

Source: Rhetoric as Philosophy (1980), p. 40

Life, People, Color, Intelligence

“For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

People, Books, Wine

“There is no art which one government sooner learns of another than that of draining money from the pockets of the people.”

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

Source: (1776), Book V, Chapter II, Part II, Appendix to Articles I and II.

Money, People, Learning

“No artisan can be expected to give his mind to his calling in the midst of a people who are either wretchedly poor, or who, if rich, assume an appearance of poverty, and who regard not the beauty and excellence but the cheapness of an article; a people whose grandeess pay for a work of art considerably under its value and according to their own caprice… For it should not be inferred that the workman is held in esteem, or arrives at a stage of independence. Nothing but sheer necessity or blows from a cudgel keeps him employed; he never can become rich, and he feels it no trifling matter if he have the means of satisfying the cravings of hunger and of covering his body with the coarsest garment. If money be gained it does not in any measure go into his pocket, but only serves to increase the wealth of the merchant.”

François Bernier (1620–1688) French physician and traveller

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

Money, Hunger, People, Beauty

“Lightly men talk of saying what they mean. Often when he was teaching me to write in Greek the Fox would say, "Child, to say the very thing you really mean, the whole of it, nothing more or less or other than what you really mean; that's the whole art and joy of words." A glib saying. When the time comes to you at which you will be forced at last to utter the speech which has lain at the center of your soul for years, which you have, all that time, idiot-like, been saying over and over, you'll not talk about joy of words. I saw well why the gods do not speak to us openly, nor let us answer. Till that word can be dug out of us, why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

Orual
Till We Have Faces: A Myth Retold (1956)

Men, God, Soul, Thinking

“The true and best way of learning any Art, is not to see a great many Examples done by another Person, but to possess ones seIf first of the Principles of it, and then to make them familiar, by exercising ones self in the Practice. Far it is Practice alone, that makes a Man perfect in any thing.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

Way, Exercises, Learning, Personality

“The Duchamp thing is played both ways. The 'Urinal' [famous 'ready-made' of Marcel Duchamp ] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It's very adolescent. I was very much excited by it when I was a teenager... My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, pp. 15-16

Way, Thinking

“According to the traditional interpretation Plato’s attitude against rhetoric is a rejection of the doxa, or opinion, and of the impact of images, upon which the art of rhetoric relies; at the same time his attitude is considered as a defense of the theoretical, rational speech, that is, of episteme. The fundamental argument of Plato’s critique of rhetoric usually is exemplified by the thesis, maintained, among other things, in the Gorgias, that only he who "knows" [epistatai] can speak correctly; for what would be the use of the "beautiful," of the rhetorical speech, if it merely sprang from opinions [doxa], hence from not knowing? … Plato’s … rejection of rhetoric, when understood in this manner, assumes that Plato rejects every emotive element in the realm of knowledge. But in several of his dialogues Plato connects the philosophical process, for example, with eros, which would lead to the conclusion that he attributes a decisive role to the emotive, seen even in philosophy as the absolute science.”

Ernesto Grassi (1902–1991) Italian philosopher

Source: Rhetoric as Philosophy (1980), p. 28

Beauty, Knowledge, Decision, Science

“There are scarcely fifteen art-collectors in Paris capable of liking a painter without the backing of the Salon. There are eighty thousands of them who wouldn't buy a thing from a painter who is not in the [Paris'] Salon. I am not going to be so foolish as to condemn a thing just because of where it happens to be. In short, I'm not going to waste my time bearing a grudge against the Salon – I don't even want to look as if I do. To my mind, one must simply paint as well as one possibly can – and that's all.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: 1880's, Renoir – his life and work, 1975, pp. 127-128 : in his letter to Durand-Ruel (1880's), explaining his choice to participate in the yearly official Salon as well as in the Impressionist Exhibition in Paris, on the same time.

Time, Painting

“Yoga was my Destiny, and for the past seventy years, yoga has been my life, a life fused with the practice, philosophy, and teaching of the art of yoga. Like all destinies, like all great adventures, I have gone to places I have imagined before I set out. For me It has been a journey of discovery.”

B.K.S. Iyengar (1918–2014) Indian yoga teacher and scholar

Source: Light on Life: The Yoga Journey to Wholeness, Inner Peace, and Ultimate Freedom, P.xi

Life, Imagination, Past

“"My own people condemned my action (performing Koothu and Kutiyattam outside the precincts of the temples), Once, after I had given performances at Vaikkom, they even thought about excommunicating me. I desired that this art should survive the test of time. That was precisely why I ventured outside the temple"
- Guru about the difficulties he had faced from hardliners when he tok Koothu and Kutiyattam outside the temples and performing it for common man.”

Mani Madhava Chakyar (1899–1990) Indian actor

Source: Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994

People, Time

“I had the greatest pleasure of listening to Gloria Estefan's lecture on "Life, Art and Spirituality" at the Graham Center of Florida International University today. It was a great experieince. She is such a wonderful, amazing woman, and a great inspiration. I believe that everyone who attended her lecture today was blown away by her sincerity, kind words and her sense of humor... yes, because even in the darkest days of her life, there was a little room for humor. She spoke of the power of prayer, and how different this world would be if we were to stop the violence, and the hating, and the wars between us.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

comment from audience member at Esteran's address at Florida International University (November 14, 2006)
2007, 2008

Life, Hate, War, Pleasure

“Arts may ply fantastic anatomy but nature is always herself in her wildest moods of extravagence.”

John Clare (1793–1864) English poet

'Essay on Landscape'
Other

Mood, Nature

“Build thee more stately mansions, O my soul,
As the swift seasons roll!
Leave thy low-vaulted past!
Let each new temple, nobler than the last,
Shut thee from heaven with a dome more vast,
Till thou at length art free,
Leaving thine outgrown shell by life’s unresting sea!”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

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

Life, Soul, Past, Sea

“People knew about Babi Yar before Yevtushenko's poem, but they were silent. And when they read the poem, the silence was broken. Art destroys silence.”

Dmitri Shostakovich book Testimony

Page 159
Testimony (1979)

People, Silence, Reading, Baby

“Art in Britain is in a very healthy state. The artists of my generation and older are at their best — people like Howard Hodgkin and Frank Auerbach. The YBAs are still very strong, and it's exciting to wonder what the next generation will bring.”

Peter Blake (1932) British artist

Simon O'Hagan "Credo:Peter Blake", http://www.findarticles.com/p/articles/mi_qn4159/is_20051120/ai_n15851377 The Independent on Sunday, 2005-11-20. Accessed from findarticles.com, 2007-01-22 Art

People, Strong

“Great art – or good art – is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different. There's boring conceptual art and there's boring traditional art. Great art is if you can't stop thinking about it, then it becomes a memory.”

Damien Hirst (1965) artist

Source: Elizabeth Day Damien Hirst: 'Art is childish and childlike' http://www.theguardian.com/theobserver/2010/sep/26/damien-hirst-art, The Guardian, 26 September 2010

Thinking, Memory

“His pictures [of Nolde, which Jawlensky met in 1912] remind me of my own in the strength of their expression. I have a passionate love for Nolde and his art.”

Alexej von Jawlensky (1864–1941) Russian painter

quote of Jawlensky, 1912; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 118
1900 - 1935

Love, Passion

“Folk music is not so much a body of art as it is a process, an attitude, and a way of life; its distinguishing features lie not within the songs themselves, but in the relations of those songs to a folk culture.”

Sam Hinton (1917–2009) folk singer, artist, marine biologist

"The Singer of Folk Songs and His Conscience"

Life, Lie, Music, Way

“If books were sold as software and online recordings are, they would have this legalese up front:
The content of this book is distributed on an 'as is' basis, without warranty as to accuracy of content, quality of writing, punctuation, usefulness of the ideas presented, merchantability, correctness or readability of formulae, charts, and figures, or correspondence of (a) the table of contents with the actual contents, (2) page references in the index (if any) with the actual page numbering (if present), and (iii) any illustration with its adjacent caption. Illustrations may have been printed reversed or inverted, the publisher accepts no responsibility for orientation or chirality. Any resemblance of the author or his or her likeness or name to any person, living or dead, or their heirs or assigns, is coincidental; all references to people, places, or events have been or should have been fictionalized and may or may not have any factual basis, even if reported as factual. Similarities to existing works of art, literature, song, or television or movie scripts is pure happenstance. References have been chosen at random from our own catalog. Neither the author(s) nor the publisher shall have any liability whatever to any person, corporation, animal whether feral or domesticated, or other corporeal or incorporeal entity with respect to any loss, damage, misunderstanding, or death from choking with laughter or apoplexy at or due to, respectively, the contents; that is caused or is alleged to be caused by any party, whether directly or indirectly due to the information or lack of information that may or may not be found in this alleged work. No representation is made as to the correctness of the ISBN or date of publication as our typist isn't good with numbers and errors of spelling and usage are attributable solely to bugs in the spelling and grammar checker in Microsoft Word. If sold without a cover, this book will be thinner than those sold with a cover. You do not own this book, but have acquired only a revocable non-exclusive license to read the material contained herein. You may not read it aloud to any third party. This disclaimer is a copyrighted work of Jef Raskin, first published in 2004, and is distributed 'as is', without warranty as to quality of humor, incisiveness of commentary, sharpness of taunt, or aptness of jibe.”

Jef Raskin (1943–2005) American computer scientist

"If Books Were Sold as Software" http://www.newsscan.com/cgi-bin/findit_view?table=newsletter&dateissued=20040818#11200, NewsScan.com (18 August 2004) If Books Were Sold as Software (2004)

Death, People, Books, Error

“On the issue of depth, difficulty doesn't imply depth. Difficulty doesn't mean Art, incomprehensibility doesn't have any value.”

Laxmi Prasad Devkota (1909–1959) Nepali poet

पण्डित लेखनाथ पौड्यालको विषयमा (On the subject of Pandit Lekhnath Paudyal)

“I have been singularly hard with myself. I have had to be. You must realize that this is so, since you have, at times, reproached me for it, and were astonished because I had so little confidence in myself. I have been, or seemed, hard with everyone because I was carried away by a sort of brutality born of my distrust in myself and my ill-humor. I have felt so badly equipped, so soft, in spite of the fact that my attitude towards art seemed to me so just. I was disgusted with everyone, and especially myself. I ask your pardon, then, if, with this damned art as an excuse, I have wounded your noble and intelligent spirit; perhaps even your heart..”

Edgar Degas (1834–1917) French artist

"The Sensitive Artist" (p. 43)
quote from Degas' letter to a friend; but unknown because Vollard did not want to reveal the name
posthumous quotes, Degas: An Intimate Portrait' (1927)

Confidence, Intelligence, Time, Heart

“Film is an artificial construct. It pretends to reconstruct reality. But it doesn't do that—it's a manipulative form. It's a lie that can reveal the truth. But if a film isn't a work of art, it's just complicit with the process of manipulation.”

Michael Haneke (1942) Austrian film director and screenwriter

as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51

Truth, Lie, Reality

“The Posthumous Works of Robert Hooke M. D.,'… appeared in 1705, containing 'A Discourse of Earthquakes'… His treatise… is the most philosophical production of that age, in regard to the causes of former changes in the organic and inorganic kingdoms of nature. 'However trivial a thing,' he says, 'a rotten shell may appear to some, yet these monuments of nature are more certain tokens of antiquity than coins or medals, since the best of those may be counterfeited or made by art and design, as may also books, manuscripts, and inscriptions, as all the learned are now sufficiently satisfied has often been actually practised,' &c.; 'and though it must be granted that it is very difficult to read them and to raise a chronology out of them, and to state the intervals of the time wherein such or such catastrophes and mutations have happened, yet it is not impossible.”

Charles Lyell book Principles of Geology

Chpt.3, p. 36
Principles of Geology (1832), Vol. 1

Books, Age, Nature, Learning

“Religion can never reform mankind because religion is slavery. It is far better to be free, to leave the forts and barricades of fear, to stand erect and face the future with a smile. It is far better to give yourself sometimes to negligence, to drift with wave and tide, with the blind force of the world, to think and dream, to forget the chains and limitations of the breathing life, to forget purpose and object, to lounge in the picture gallery of the brain, to feel once more the clasps and kisses of the past, to bring life's morning back, to see again the forms and faces of the dead, to paint fair pictures for the coming years, to forget all Gods, their promises and threats, to feel within your veins life's joyous stream and hear the martial music, the rhythmic beating of your fearless heart. And then to rouse yourself to do all useful things, to reach with thought and deed the ideal in your brain, to give your fancies wing, that they, like chemist bees, may find art's nectar in the weeds of common things, to look with trained and steady eyes for facts, to find the subtle threads that join the distant with the now, to increase knowledge, to take burdens from the weak, to develop the brain, to defend the right, to make a palace for the soul. This is real religion. This is real worship.”

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

What Is Religion? (1899) is Ingersoll's last public address, delivered before the American Free Religious association, Boston, June 2, 1899. Source: The Works of Robert G. Ingersoll, Dresden Memorial Edition Volume IV, pages 477-508, edited by Cliff Walker. http://www.positiveatheism.org/hist/ingwhatrel.htm

Life, God, World, Fear

“The very idea of philosopher as art curator deeply interests me. One swiftly dreams of what Gilles Deleuze might have done with the opportunity to curate an art exhibition at MoMA: Art and Alloverness perhaps? Or Michel Foucault: the New Panopticons at the Centre Georges Pompidou? What would Susan Sontag or Roland Barthes have done at the International Center of Photography or at the Tate? What could Friedrich Nietzsche have done at the Louvre Museum? What indeed could Georges Bataille have haughtily done at the Metropolitan Museum of Art?”

Joseph Nechvatal (1951) American artist

Joseph Nechvatal. " Painting and Philosophy: An Assessment http://hyperallergic.com/90646/painting-and-philosophy-an-assessment/," at hyperallergic.com, October 28, 2013

Dreams, Idea

“I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a. o. with Theo van Doesburg ] and draw commercial art for newspapers.”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, January 1926; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 34.
1920s

Drawing, Painting

“So I spit back at you, Huelsenbeck
But where you spit venom, I spit art
I laugh at you -- HA HA --
I laugh at you”

Kurt Schwitters (1887–1948) German artist

1920s, Huelsendada', Kurt Schwitters, 1920

“And as for their piety towards God, it is very extraordinary; for before sun-rising they speak not a word about profane matters, but put up certain prayers which they have received from their forefathers, as if they made a supplication for its rising. After this every one of them are sent away by their curators, to exercise some of those arts wherein they are skilled, in which they labor with great diligence till the fifth hour. After which they assemble themselves together again into one place; and when they have clothed themselves in white veils, they then bathe their bodies in cold water. And after this purification is over, they every one meet together in an apartment of their own, into which it is not permitted to any of another sect to enter; while they go, after a pure manner, into the dining-room, as into a certain holy temple, and quietly set themselves down; upon which the baker lays them loaves in order; the cook also brings a single plate of one sort of food, and sets it before every one of them; but a priest says grace before meat; and it is unlawful for any one to taste of the food before grace be said. The same priest, when he hath dined, says grace again after meat; and when they begin, and when they end, they praise God, as he that bestows their food upon them; after which they lay aside their [white] garments, and betake themselves to their labors again till the evening; then they return home to supper, after the same manner; and if there be any strangers there, they sit down with them. Nor is there ever any clamor or disturbance to pollute their house, but they give every one leave to speak in their turn; which silence thus kept in their house appears to foreigners like some tremendous mystery; the cause of which is that perpetual sobriety they exercise, and the same settled measure of meat and drink that is allotted them, and that such as is abundantly sufficient for them.”

Josephus on the Essenes

Jewish War

God, Food, Exercises, Home

“Myth was the mystery plus the fantasy — gods, anthropomorphized animals and birds, chimera, phantasmagorical creatures — that posits out of the imagination some sort of explanation for the mystery. Humans and their fellow creatures were the materiality of the story, but as Nikos Kazantzakis once wrote, 'Art is the representation not of the body but of the forces which created the body.”

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

Writing and Being (1991)

God, Imagination, Bird, Animals

“To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it.”

Joseph Beuys (1921–1986) German visual artist

1960's

Teachers

“It is useless to talk with those who do not understand one and troublesome to talk with those who criticize from a feeling of superiority. Especially one-sided persons are troublesome. Few are accomplished in many arts and most cling narrowly to their own opinion.”

Murasaki Shikibu book The Diary of Lady Murasaki

In Diaries of Court Ladies of Old Japan
The Diary of Lady Murasaki

Feeling, Understanding, Personality

“Modesty is the gentle art of enhancing your charm by pretending not to be aware of it.”

Oliver Herford (1863–1935) American writer

Ladies' Home Journal, Volume 72 (1955), p. 156.
Attributed

“The art of politics is judging what circumstances permit and what they forbid. Look at the reputation of, say, John Brown and the abolitionists before the Civil War. Lincoln had very harsh things to say about John Brown in 1859. The Civil War vindicated John Brown.”

Harry V. Jaffa (1918–2015) American historian and collegiate professor

2010s, Interview with Eric Benson (2012)

War

“Under the stimulation of a "great age" or certain period of clarity in art a wider diffusion of genius becomes actual suggests to me that it is always potential.”

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

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 8

Age

“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

Travel, Study, Painting, Housing

“The triumph of the industrial arts will advance the cause of civilization more rapidly than its warmest advocates could have hoped, and contribute to the permanent prosperity and strength of the country far more than the most splendid victories of successful war.”

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. xii-xiii; Cited in: Samuel Smiles Industrial biography; iron-workers and tool-makers http://books.google.com/books?id=5trBcaXuazgC&pg=PA104, (1864) p. 104

War, Hope, Success, Victory

“Impressionism is at the root of all modern art, because it was the first movement that managed to free itself from preconceived ideas, and because it changed not only the way life was depicted but the way life was seen.”

Francesco Salvi (1953) Italian actor, writer, comedian, singer and architect

Source: Nancy Bachus The Modern Piano: The Influence of Society, Style, and Musical Trends on the Great Piano Composers http://books.google.co.in/books?id=azsmp3dvjk8C&pg=PA10, Alfred Music Publishing, 1 August 2006, p. 10

Life, Way, Idea, Change

Quotes about art page 49

Quotes about art
page 49