Quotes about art
page 50

“Dear Sir, - I have truly, I must say, written three times, and now hesitate; for did I know your son's works, or, as you say, his gifted merits yet even then I would rather advise you to think well, and not be carried away by the admiration which any friendly hopes (which ardent friends to early talent) may assume: they know not the difficulties or the necessities of the culture of the Fine Arts generally speaking. In regard to yourself, it is you alone can judge how far you are inclined to support him during perhaps a long period of expense; and particularly if you look towards tuition, the more so; for it cannot insure success (however much it may facilitate practice), and therefore it behooves you to weigh well the means in your power before you embark in a profession which requires more care, assiduity, and perseverance than any person can guarantee.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote from Turner's letter 4 Dec. 1848 to James Astbury Hammersley; as cited in The life of J.M.W. Turner, Volume II, George Walter Thornbury; Hurst and Blackett Publishers, London, 1862, pp. 115-16
James Astbury Hammersley, himself an artist and art-teacher, wrote Turner to ask him to give his son further instructions in painting
1821 - 1851

Hope, Support, Thinking, Time

“It is precisely those artists and writers who are most inclined to think of their art as the manifestation of their personality who are in fact the most in bondage to public taste.”

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

Source: Simone Weil : An Anthology (1986), Human Personality (1943), p. 57

Thinking, Personality

“When I went to school [art-school - Joseph Beuys was one of his art teachers and a very inspiring one] there was Pop Art. The Americans dismissed us from our responsibilities. They mailed us Care packages and Democracy. The search for our own identity was postponed. After the 'time of misfortune' as it has been called euphemistically, one thought in 1946 to begin anew. Even now we talk about the 'Point Zero'. But that is not possible; this is nonsense. The past is tabulated because to confront it would necessitate denial and disgust..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

School, Democracy, Search, Teachers

“If you cannot feel the color and quality,— the union of naïveté and art,— the refinement,— the infinite delicacy and tenderness — of this little poem ["Tombeor de Notre Dame"], then nothing will matter much to you; and if you can feel it, you can feel, without more assistance, the majesty of Chartres.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The anonymous thirteenth-century poem "Tombeor de Notre Dame", of which Adams gives a fairly detailed summary, is translated in Of the Tumbler of Our Lady and Other Miracles, edited by Alice Kemp-Welsh (London: Chatto & Windus, 1909).
Mont Saint Michel and Chartres (1904)

Color, Feeling

“Kinetic art was created by artists who pushed the boundaries of traditional, static art forms to introduce visual experiences that would engage the audience and profoundly change the course of modern art.”

Theo Jansen (1948) artist

Theo Jansen, quoted in: " 2015 International Kinetic Art Exhibit & Symposium - Boynton Beach, FL, USA http://intlkineticartevent.org/?page_id=107," 2015

Change

“Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 14 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 292
1900 - 1905

Nature, Sense, Painting, Perfection

“I'm one of those people who feels that agriculture is a creative act. It's a very fine art — that's the way I approach it.”

Tommy Lee Jones (1946) American actor and film director

Interview interview (1995)

People, Way, Feeling

“Primarily, which is very notable and curious, I observe that men of business rarely know the meaning of the word 'rich'. At least, if they know, they do not in their reasoning allow for the fact, that it is a relative word, implying its opposite 'poor' as positively as the word 'north' implies its opposite 'south'. Men nearly always speak and write as if riches were absolute, and it were possible, by following certain scientific precepts, for everybody to be rich. Whereas riches are a power like that electricity, acting only through inequalities or negations of itself. The force of the guinea you have in your pockets depends wholly on the default of a guinea in your neighbour's pocket. If he did not want it, it would be of no use to you; the degree of power it possesses depends accurately upon the need or desire he has for it,— and the art of making yourself rich, in the ordinary mercantile economist's sense, is therefore equally and necessarily the art of keeping your neighbour poor.”

John Ruskin book Unto This Last

Essay two: 'The Veins of Wealth'.
Unto This Last (1860)

Men, Business, Sense, Dependency

“The wise do not sanction a fourth delivery even in a season of distress. The woman having intercourse with four different men is called a Swairini (heanton), while she having intercourse with five becometh a harlot. Therefore, O learned one, as thou art well-acquainted with the scripture on this subject, why dost thou, beguiled by desire of offspring, tell me so in seeming forgetfulness of the ordinance”

Kunti character from Indian epic Mahabharata

Kunti addressing Pandu who wanted her to beget more children.
The Mahabharata/Book 1: Adi Parva/Section CXXIII

Men, Learning, Forgetting, Season

“To-day's house makes to-morrow’s road;
I knew these heaps of stone
When they were walls of grace and might,
The country’s honour, art’s delight
That over fountain'd silence show'd
Fame's final bastion.”

Edmund Blunden (1896–1974) English poet, author and literary critic

The Survival http://www.poemhunter.com/poem/the-survival/ (1921)

Silence, Housing, Country

“European art [however] has developed from mimetic-ism and only today is arriving at an elementary plastic art.”

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

Quote from van Doesburg's article: 'Great Masters of Art' in Dutch art-magazine Eenheid no. 357, 7 April 1917
with elementary plastic art Van Doesburg meant an art without representation (mimetic) any longer]
1912 – 1919

“But the one thing you shd. not do is suppose that when something is wrong with the arts, it is wrong with the arts ONLY.”

Ezra Pound (1885–1972) American Imagist poet and critic

Guide to Kulchur (1938), p. 60

“The attempt to revive styles that have existed in former ages, may for a time appear to be successful, but experience may now surely teach us its impossibility. I might put on a suit of Claude Lorraine's clothes and walk into the street, and the many who knew Claude but slightly would pull off their hats to me, but I should at last meet with some one, more intimately acquainted with him, who would expose me to the contempt I merited.It is thus in all the fine arts. A new Gothic building, or a new missal, is in reality little less absurd than a new ruin.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's Lecture at the Literary and Scientific Institution, Hampstead, (25 July 1836), from notes, taken by C.R. Leslie
1830s, his lectures History of Landscape Painting (1836)

Age, Reality, Appearance, Time

“You well know … for which reason I began searching for a number of demonstrations proving a statement due to the ancient Greeks … and which passion I felt for the subject … so that you reproached me my preoccupation with these chapters of geometry, not knowing the true essence of these subjects, which consists precisely in going in each matter beyond what is necessary. … Whatever way he [the geometer] may go, through exercise will he be lifted from the physical to the divine teachings, which are little accessible because of the difficulty to understand their meaning … and because the circumstance that not everybody is able to have a conception of them, especially not the one who turns away from the art of demonstration.”

Al-Biruni (973–1048) Persian scholar and polymath

Book on the Finding of Chords.

Way, Exercises, Search, Understanding

“It was difficult to sustain the illusion that education was of value for kids who would not live long enough to use it. They’d never take the standardized tests that they were prepping for. … Free from the constraints of racking up high test scores or getting into colleges, students could learn for learning’s sake—which was how it ought to be. The tick-tock curriculum had dissolved and been replaced by activities improvised from day to day by teachers and parents: hiking in the mountains, doing art projects about the Cloud Ark, talking with psychologists about death, reading favorite books. In one sense Amelia and her colleagues had never been more needed, never had such an opportunity to show their quality.”

Neal Stephenson book Seveneves

"The Casting of Lots"
Seveneves (2015), Part One

Death, Books, Education, Mountain

“It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems.”

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

Source: Art & Other Serious Matters, (1985), p. 14, "Movement in Art"

Problem, Time

“The real story can never be told. It is untellable. The real (as real) is inaccessible, being gone in time. There is no point in glancing at the past, in summoning it up, in re-examining it, except on behalf of art — that is, the meaningful-real.”

William Saroyan (1908–1981) American writer

The Bicycle Rider In Beverly Hills (1952)

Time, Past

“Hasten [to examine] thy own ruling faculty and that of the universe and that of thy neighbor: thy own, that thy may make it just; and that of the universe, that thou mayst remember of what thou art a part; and that of thy neighbor, that thy mayst know whether he has acted ignorantly or with knowledge, and that thou mayst also consider that his ruling faculty is akin to thine.”

Marcus Aurelius book Meditations

IX, 22
Meditations (c. 121–180 AD), Book IX

Knowledge, Universe, Parting

“What are we supposed to do [reacting furiously on art-critic Jules Castagnary who proclaimed the so-called new School of Impressionism, 29 April 1874 in the Paris journal 'Le Siècle'] about these stupid literary people who will never understand that painting is a craft! You make it with materials, not ideas! The ideas come afterwards, when the painting is finished.”

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

As quoted in The private lives of the Impressionists Sue Roe, Harper-Collins Publishers, New York, 2006, p. 127
1870's

People, Stupidity, School, Idea

“All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer — at least the answer for myself. Art is an action against death. It is denial of death.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: The Artist at Work, 1966, p. 202

Life, Death

“Fashion drawing teacher: 'Yes, drawing is a difficult art. One has to have some talent for it - and unfortunately you haven't.
Charlotte: 'No, I refuse to stay here with this stupid old cow, where through the dirty window even the sun's bright ray can only dimly play... Only he who dares can win. Only he who dares can begin.”

Charlotte Salomon (1917–1943) German painter

written text with brush, in her paintings JHM no. 4334 https://charlotte.jck.nl/detail/M004334/part/character/theme/keyword + 4335 https://charlotte.jck.nl/detail/M004335: in 'Life? or Theater..', p. 222-223 Charlotte Salomon - Life? or Theater?

Stupidity, Fashion, Teachers, Sun

“Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 1: David

Death, Support, Painting

“Science may be described as the art of systematic over-simplification — the art of discerning what we may with advantage omit.”

Karl Popper book The Open Universe

The Open Universe : An Argument for Indeterminism (1992), p. 44

Science

“With purity and with holiness I will pass my life and practice my Art.”

Hippocrates (-460–-370 BC) ancient Greek physician

Oath of Hippocrates (c. 400 BC)

Life

“No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them.”

Colin Wilson (1931–2013) author

The Chicago Review (Volume 13, no. 2, 1959, p. 152-181)

Life, Pleasure, Music, Problem

“Now, I agree with Mill in holding that the scientific study of the structures and functions of the different governments that have actually existed in human societies cannot well be pursued in complete separation from the scientific study of other important elements of the societies in question : whether the aim of the student is to ascertain the causes of the differences in such governments or to examine their effects. But I do not think that there is any fundamental difference, in this respect, between the study of political relations and the study of economic relations, or, again, of religion, of art, of science and philosophy, as factors of social life. In each of these eases the student concentrates his attention on one element of human history which can only be partially separated from other components of the whole complex fact of social development. Experience seems to show that this kind of concentration, and consequent partial separation of historical and sociological study into special branches, is unavoidable in the division of intellectual labour which the growth of our knowledge renders necessary in a continually increasing degree.”

Henry Sidgwick (1838–1900) English philosopher

Elements of Politics (3rd ed., 1908), Ch. 1: Scope and Method of Politics

Life, Religion, History, Question

“Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.”

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

Quote from 'Eenheid' [Dutch art-magazine] no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, pp. 105–106
1912 – 1919

Color

“From an art perspective, I don't know how you get better than Beetlejuice. In terms of originality and a look, it's 100% unique.”

Michael Keaton (1951) American actor

The Times http://herocomplex.latimes.com/movies/michael-keatons-dark-memories-of-batman-and-shining-love-for-beetlejuice/ (2011).

“Well, the truth is, we can only make our pictures speak. But yet, my dear brother, there is this that I have always told you, and I repeat it once more, with all earnestness.... that I shall always consider that you are something other than a simple [art-]dealer in Corot, that through my mediation you have a part in the actual production of some canvases, which even in the deluge will retain their place.
Well, my own work, I am risking my life for it and my reason has half-foundered in it - that is all right - but you are not among the dealers in men so far as I know, and you can still choose your side, I think, acting with humanity, but what's the use?”

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

In a letter from Auvers, Summer of 1890, to Theo (found on him on 29 July, after Vincent had shot himself); 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, (letter 652 ) p. 7 1890s

Life, Men, Truth, Thinking

“Every naturalism begins as involuntary naïveté. Initially, we cannot help thinking that the “order of things” is an objective order. For the first glance falls on the things and not on the “eyeglasses.” In the work of enlightenment, this first innocence becomes irretrievably lost. Enlightenment leads to the loss of naïveté and it furthers the collapse of objectivism through a gain in self-experience. It effects an irreversible awakening and, expressed pictorially, executes the turn to the eyeglasses, i. e., to one’s own rational apparatus. Once this consciousness of the eyeglasses has been awakened in a culture, the old naïveté loses its charm, becomes defensive, and is transformed into narrow-mindedness, which is intent on remaining as it is. The mythology of the Greeks is still enchanting; that of fascism is only stale and shameless. In the first myth, a step toward an interpretation of the world was taken; in simulated naïveté, an artful stupefaction (Verdummung) is at work—the predominant method of self-integration in advanced social orders.”

Peter Sloterdijk (1947) German philosopher

Source: Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983), p. 59

World, Nature, Thinking, Loss

“Even the modern word "concept" means "a grasping together," implying that the mind itself, in its act of knowing, functions like the intervening hand (in contrast to its ancient counterpart, “idea,” “that which can be beheld,” which implies that the mind functions like the receiving eye). And modern science rejects, as meaningless or useless, questions that cannot be answered by the application of method. Science becomes not the representation and demonstration of truth, but an art: the art of finding the truth—or, rather, that portion of truth that lends itself to be artfully found.”

Leon R. Kass (1939) American academic

Source: The Problem of Technology (1993), p. 8

Truth, Idea, Question, Science

“The art of government has grown from its seeds in the tiny city-states of Greece to become the political mode of half the world. So let us dream of a world in which all states, great and small, work together for the peaceful flowering of the republic of man.”

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

As quoted in Seeds of Peace : A Catalogue of Quotations (1986) by Jeanne Larson and Madge Micheels, p. 265

World, Peace, Dreams, Flowers

“[Roger B. Smith] identified the following skills and mental processes required of today’s managers as those acquired and sharpened in the study of the liberal arts.”

Roger Smith (executive) (1925–2007) CEO

Study

“The weakness of art is that great poems do not ennoble politics, as they certainly should, and the trouble with politics is that they inspire poets only to mockery and scorn.”

William Saroyan (1908–1981) American writer

Something About a Soldier (1940)

“.. the function of art work is.... the renewal of memories of moments of perfection.”

Agnes Martin (1912–2004) American artist

remark in 1973; as quoted by Amy Flanagan in [file:///C:/Users/Fons/Downloads/The%20Subtle%20Emotive%3B%20Agnes%20Martin.pdf 'The Subtle emotive; Material and Experience in the Works of Agnes Martin'], essay redraft, 2015, p. 1
1970's

Memory, Perfection

“There is no indication of success up to now in the bringing together of art and science. To achieve success the artist must be spiritually at home in the field of science so he can think and feel in the same way as the scientist. A spiritual union, not a technical one, is requested.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1969), in Studio international. Vol.178. p. 64
1936 - 1977

Way, Feeling, Home, Thinking

“It is as absurd to expect members of philosophy departments to be philosophers as it is to expect members of art departments to be artists.”

Leo Strauss (1899–1973) Classical philosophy specialist and father of neoconservativism

“What is liberal education,” p. 7
Liberalism Ancient and Modern (1968)

“Sin! Sin! Thou art a hateful and horrible thing, that abominable thing which God hates. And what wonder? Thou hast insulted His holy majesty; thou hast bereaved Him of beloved children; thou hast crucified the Son of His infinite love; thou hast vexed His gracious Spirit; thou hast defied His power; thou hast despised His grace; and in the body and blood of Jesus, as if that were a common thing, thou hast trodden under foot His matchless mercy. Surely, brethren, the wonder of wonders is, that sin is not that abominable thing which we also hate.”

Thomas Guthrie (1803–1873) British divine

Source: The Gospel in Ezekiel Illustrated in a Series of Discourses (1856), P. 32 (The Defiler).

Love, God, Hate, Children

“Indeed, our society, which has seemed so freedom-giving and passive in its attitudes toward the artist really makes extraordinary demands upon him: on the one side, to be free in some vague spiritual sense, free to act only as an artist, and yet on the other side to be rigorously tested as to whether the freedom he has achieved is great enough to be more solidly dependable than a government's financial structure... No wonder that modern painters, in view of these curious relations to society, have taken art matters into their own hands, decides for themselves what art is, what its subjects are to be, and how they are to be treated. Art like love is an active process of growth and development.”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), p. 108

Love, Sense, Freedom, Dependency

“I am one of those unhappy persons who inspire bores to the greatest flights of art.”

Edith Sitwell (1887–1964) British poet

As quoted in An Uncommon Scold (1989) by Abby Adams, p. 226

Personality

“TW: I must ask you, what right does the fact that you are a popular and successful popstar give you to comment on political and…
M: Well, I feel that, if popular singers don’t say these things, who does? We can’t have any faith in playwrights any more, we can’t have any faith in filmstars, young people don’t care about those things, they’re dying arts. And if you say, what ‘right’ do you have, the implication there to me is that popular music is quite a low art, it should be hidden, it can be there but let’s not say anything terribly important, let’s just make disco records or whatever. So I really feel that we do have an obligation and I know that people respect it and they want it and it’s working to great effect.”

Morrissey (1959) English singer

from "Granada Reports", interview by Tony Wilson, Granada TV February 1985
In interviews etc., About politics and society

People, Faith, Music, Feeling

“The method of producing comics in Japan is very hectic, but it's also rewarding because it's possible to do both the story and art all by yourself. In this way, it's possibly to bring out one's individuality. If this idea appeals to you, I call on you to try drawing your own manga.”

Akira Toriyama (1955) manga artist and video game character designer

Interview with Toriyama http://www.myfavoritegames.com/dragonball-z/Info/Interviews/Interviews-AkiraToriyama.htm

Way, Idea, Drawing

“Fiction is, the art of making up something. That's what it's all about, folks. Making stacks of money.”

Michael Dirda (1948) American literary critic

The Library of Foresight, edition 3 of The Trilogy by John Sai, p. iii.

Money

“Too often in the past, we have thought of the artist as an idler and dilettante and of the lover of arts as somehow sissy and effete. We have done both an injustice. The life of the artist is, in relation to his work, stern and lonely. He has labored hard, often amid deprivation, to perfect his skill. He has turned aside from quick success in order to strip his vision of everything secondary or cheapening. His working life is marked by intense application and intense discipline.”

John F. Kennedy (1917–1963) 35th president of the United States of America

"LOOK Magazine Article 'The Arts in America' (552)" (18 December 1962) http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/JFK-Quotations.aspx 1962

Life, Lovers, Success, Past

“In the first Manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin, we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

1910, Manifesto of Futurist Painters,' April 1910
Source: Rainey et al. (eds.) Futurism: An Anthology, (2009), p. 64 : Lead paragraph

Happiness, Country

“[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.”

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

1926 - 1941, Autobiography of the artist' (1941)

Travel, Study, Learning, Time

“The audience, as ground, shapes and controls the work of art.”

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

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 48

“Well, then there was the bit in the local paper about the scholarship she’d won and how clever she was, and her name as beautiful as herself, Miranda. So I knew she was up in London studying art. It really made a difference, that newspaper article. It seemed like we became more intimate, although of course we still did not know each other in the ordinary way.
I can’t say what it was, the very first time I saw her, I knew she was the only one. Of course I am not mad, I knew it was just a dream and it always would have been if it hadn’t been for the money. I used to have daydreams about her, I used to think of stories where I met her, did things she admired, married her and all that. Nothing nasty, that was never until what I’ll explain later.”

John Fowles book The Collector

The Collector (1963)

Money, Beauty, Dreams, Way

“We are not talking about a new cognition in relation to Abstract art, rather a new area of cognition... This is where abstract art steps in, in a stronger sense of life, a stronger contact with the growing life, a feeling of the pulsation of life and growth in oneself, an activation of deep-seated powers a staple vitality far deeper than our cognition, not instead of science but inspired by it.”

Asger Jorn (1914–1973) Danish artist

Quote by Jorn, after Egill Jacobson's exhibition in Kunstforeningen (1945)
1940 - 1948, Various sources

Life, Feeling, Sense, Science

“What I dream of is an art of balance, of purity and serenity, devoid of troubling or disturbing subject matter, an art which could be for every mental worker, for the businessman was well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

Dreams

“For the amoral herd that fears boredom above all else, everything becomes entertainment. Sex and sport, politics and the arts are transformed into entertainment. … Nothing is immune from the demand that boredom be relieved (but without personal involvement, for mass society is a spectator society).”

Merold Westphal (1940)

Source: Kierkegaard’s Critique of Reason and Society (1992), p. 50

Fear, Sex, Sport, Personality

“"Another situation generally exposed to ressentiment danger is the older generation's relation with the younger. The process of aging can only be fruitful and satisfactory if the important transitions are accompanied by free resignation, by the renunciation of the values proper to the preceding stage of life. Those spiritual and intellectual values which remain untouched by the process of aging, together with the values of the next stage of life, must compensate for what has been lost. Only if this happens can we cheerfully relive the values of our past in memory, without envy for the young to whom they are still accessible. If we cannot compensate, we avoid and flee the “tormenting” recollection of youth, thus blocking our possibilities of understanding younger people. At the same time we tend to negate the specific values of earlier stages. No wonder that youth always has a hard fight to sustain against the ressentiment of the older generation. Yet this source of ressentiment is also subject to an important historical variation. In the earliest stages of civilization, old age as such is so highly honored and respected for its experience that ressentiment has hardly any chance to develop. But education spreads through printing and other modern media and increasingly replaces the advantage of experience. Younger people displace the old from their positions and professions and push them into the defensive. As the pace of “progress” increases in all fields, and as the changes of fashion tend to affect even the higher domains (such as art and science), the old can no longer keep up with their juniors. “Novelty‟ becomes an ever greater value. This is doubly true when the generation as such is seized by an intense lust for life, and when the generations compete with each other instead of cooperating for the creation of works which outlast them. “Every cathedral,” Werner Sombart writes, “every monastery, every town hall, every castle of the Middle Ages bears testimony to the transcendence of the individual's span of life: its completion spans generations which thought that they lived for ever. Only when the individual cut himself loose from the community which outlasted him, did the duration of his personal life become his standard of happiness.” Therefore buildings are constructed ever more hastily—Sombart cites a number of examples. A corresponding phenomenon is the ever more rapid alternation of political regimes which goes hand in hand with the progression of the democratic movement. But every change of government, every parliamentary change of party domination leaves a remnant of absolute opposition against the values of the new ruling group. This opposition is spent in ressentiment the more the losing group feels unable to return to power. The “retired official” with his followers is a typical ressentiment figure. Even a man like Bismarck did not entirely escape from this danger."”

Max Scheler (1874–1928) German philosopher

Das Ressentiment im Aufbau der Moralen (1912)

Life, Happiness, People, Youth

“He had come there dissatisfied with his work, even though his multi-kinetic work was admired and winning him professional recognition. However, at that moment, other ideas were gestating and he wanted to add what he called a "fifth dimension" to his art - that of artificial intelligence. […] : [At the colony, ] he was able to turn his thoughts inward, hoping to discover the new methods and direction that would more deeply satisfy his creative needs. It was at this point, while watching the motions and patterns of sun on leaves in the New Hampshire woods one morning, that Tsai finally achieved the revelatory breakthrough that changed his art and liberated his creative energies. As he put it, he wanted to create "natural movements in dynamic equilibrium, with intelligence," and he found his solution in an unlikely combination of natural phenomenon, the precedent of Gabo's singular (and unrepeated) kinetic sculpture, and the new resource of contemporary analog and digital technology. Speaking of this moment of revelation, Tsai said that he had quite deliberately turned himself into "a sort of plant": facing his chair into the sunshine in the morning, he turned his body in stages throughout the day, mulling over ways of make an "art that presented the observer with natural movements in dynamic equilibrium, and art that could convey the awe I felt while watching sunbeams shimmer through forest leaves." But a work that would "shimmer" simply did not do enough either for the artist or viewer, Tsai concluded. It must also respond in some way to the observer; it would have to work on a new feedback principle and actually engage the observer directly. In short, a cybernetic sculpture was required. To create such radically participatory works, he understood, would require that he draw on his engineering skills rather than suppress them, as he had been trying to do in his period of oil painting.”

Sam Hunter (1923–2014) American art historian

Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 67

Hope, Way, Intelligence, Idea

“If philosophy aims at being a theoretical mode of thought and speech, can it have a rhetorical character and be expressed in rhetorical forms? The answer seems obvious. Theoretical thinking, as a rational process, excludes every rhetorical element because pathetic influences—the influences of feeling—disturb the clarity of rational thought. …
To prove means to show something to be something, on the basis of something. To have something through which something is shown and explained definitively is the foundation of our knowledge. Apodictic, demonstrative speech is the kind of speech which establishes the definition of a phenomenon by tracing it back to ultimate principles, or archai. It is clear that the first archai of any proof and hence of knowledge cannot be proved themselves because they cannot be the object of apodictic, demonstrative, logical speech; otherwise they would not be the first assertions. Their nonderivable, primary character is evident from the fact that we neither can speak nor comport ourselves without them, for both speech and human activity simply presuppose them. But if the original assertions are not demonstrable, what is the character of the speech in which we express them? Obviously this type of speech cannot have a rational-theoretical character….
Basic premises cannot have an apodictic, demonstrative character and structure but are thoroughly indicative….
Arche … cannot have a rational but only a rhetorical character. Thus the term "rhetoric" assumes a fundamentally new significance; "rhetoric" is not, nor can it be the art, the technique of an exterior persuasion; it is rather the speech which is the basis of the rational thought.”

Ernesto Grassi (1902–1991) Italian philosopher

Source: Rhetoric as Philosophy (1980), pp. 18-19

Feeling, Knowledge, Thinking

“First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations.”

Paul Klee (1879–1940) German Swiss painter

Quote of Klee (Munich, c. 1910); as cited by Gualtieri Di San Lazzaro, Klee, Praeger, New York, 1957, p. 16
Klee was married, had a young son then and did the housework, living in an suburb of Munich
1903 - 1910

“I write… for laymen and scientists, because the reader who is interested in any activity which needs thought and judgement is… a person to whom science can be made to speak, It is not he who is deaf, but the specialists who have been dumb—the specialists in the arts as well as in the sciences.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

"Sense and Sensibility"
The Common Sense of Science (1951)

Science, Personality

“[A] number of points are worth making at once [that challenge Foucault’s Madness and Civilization]: (1) There is ample evidence of medieval cruelty towards the insane; (2) In the late Middle Ages and the Renaissance, the mad were already confined, to cells, jails or even cages; (3) ‘dialogue’ or no ‘dialogue’, even madness during those times was frequently connected with sin -- even in the Ship of Fools mythology; and, to that extent, it was regarded in a far less benevolent light than suggested by Foucault (pre-modern minds accepted the reality of madness -- ‘madness as a part of truth’ -- just as they accepted the reality of sin; but this does not mean they valued madness, any more than sin; (4) as Martin Schrenk (himself a severe critic Foucault) has shown, early modern madhouses developed from medieval hospitals and monasteries rather than as reopened leprosaria; (5) the Great Confinement was primarily aimed not at deviance but at poverty -- criminal poverty, crazy poverty or just plain poverty; the notion that it heralded (in the name of the rising bourgeoise) a moral segregation does not bear close scrutiny; (6) at any rate, as stressed by Klaus Doerner, another of critic of Foucault (Madmen and the Bourgeoisie, 1969), that there was no uniform state-controlled confinement: the English and German patterns, for example, strayed greatly from the Louis Quatorzian Grand Renfermement; (7) Foucault’s periodization seems to me amiss. By the late eighteenths century, confinement of the poor was generally deemed a failure; but it is then that confinement of the mad really went ahead, as so conclusively shown in statistics concerning England, France, and the United States; (8) Tuke and Pinel did not ‘invent’ mental illness. Rather, they owe much to prior therapies and often relied also on their methods; (9) moreover, in nineetenth-century England moral treatment was not that central in the medicalization of madness. Far from it: as shown by Andrew Scull, physicians saw Tukean moral therapy as a lay threat to their art, and strove to avoid it or adapt it to their own practice. Once more, Foucault’s epochal monoliths crumble before the contradictory wealth of the historical evidence.”

José Guilherme Merquior book Foucault

Source: Foucault (1985), pp. 28-29

Truth, Age, Fools, Failure

“When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert... Before us is nothing but a black square on a white background!”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

But the desert is filled with the spirit of non-objective feeling.. ..which penetrates everything.
In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 68
1921 - 1930

Love, Feeling

“I learned my trade by going out every evening as a young man," he told art historian Rosamond Bernier. "I went to every pretty house in France and Italy and other places too, and I remembered them all, even down to what was on each little table.”

Vincent Fourcade (1934–1992) French artist

"Vincent Fourcade - CELEBRATING THE PLEASURES OF MAGNIFICENT EXCESS", by Mitchell Owens, Architectural Digest, January 2000, v. 57 #1, p. 169 – one of twenty five persons named by the magazine "Interior Design Legends".

Learning, Housing

“I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.... I chose my own label and called my paintings 'Pictographs'..”

Adolph Gottlieb (1903–1974) American artist

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

Feeling, Communication, Thinking, Painting

“In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art.”

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

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

Home, History

“The course of Nature is the art of God.”

Edward Young Night-Thoughts

Source: Night-Thoughts (1742–1745), Night IX, Line 1267.

God, Nature

“Negro art contains more ideas than Greek art. Its strange inventiveness of form is astonishing, and its imagination and extraordinary sense of decoration are difficult to explain. We dare not take such liberties; but the Negroes have succeeded. We are too much the subjects of our own past..”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 407

Imagination, Idea, Sense, Past

“David Lindholm & Peter Svärd, Sigmund Ringeck's Knightly Art of the Longsword, Paladin Press (2003), ISBN 1-58160-410-6”

Johannes Lichtenauer (1300–1389) Founder and grand master of the German School of Swordsmanship

References

“Fundamental to everything the [ancient] Greeks achieved was their conviction that good for humanity was possible only if men were free, body, mind, and spirit, and if each man limited his own freedom. A good state or work of art or piece of thinking was possible only through the self-mastery of the free individual, self-government.”

Edith Hamilton (1867–1963) American teacher and writer

Introduction
The Echo of Greece (1957)

Men, Thinking, Freedom

“We don't want teenagers to write violent poems, horrifying stories, explicit lyrics and rhymes; they're ugly, in precisely the way that we are ugly, and out of protectiveness and hypocrisy, even out of pity and love and tenderness, we try to force young people to be innocent of everything but the effects of that ugliness.So we censor the art they consume and produce, and prosecute and suspend and expel them, and when, once in a great while, a teenager reaches for an easy gun and shoots somebody or himself, we tell ourselves that if we had only censored his journals and curtailed his music and video games, that awful burst of final ugliness could surely have been prevented. As if art caused the ugliness, when of course all it can ever do is reflect and, perhaps, attempt to explain it.Let teenagers languish, therefore, in their sense of isolation, without outlet or nourishment, bereft of the only thing that makes it all bearable: knowing that somebody else has felt the way that you feel, has faced it, run from it, rued it, lamented it and transformed it into art; has been there, and returned, and lived, for the only good reason we have: to tell the tale.How confident we shall be, once we have done this, of never encountering the ugliness again! How happy our children will be, and how brave, and how safe!”

Michael Chabon (1963) Novelist, short story writer, essayist

Nanny Nation

Love, Happiness, Children, People

“Being solemn has almost nothing to do with being serious, but on the other hand, you can't go on being adolescent forever, unless you are in the performing arts, and anyhow most people can't tell the difference. In fact, though Americans talk a great deal about the virtue of being serious, they generally prefer people who are solemn over people who are serious.
In politics, the rare candidate who is serious, like Adlai Stevenson, is easily overwhelmed by one who is solemn, like General Eisenhower. This is probably because it is hard for most people to recognize seriousness, which is rare, especially in politics, but comfortable to endorse solemnity, which is as commonplace as jogging.
Jogging is solemn. Poker is serious. Once you grasp that distinction, you are on your way to enlightenment.”

Russell Baker (1925–2019) writer and satirst from the United States

"Why Being Serious Is Hard" (p.17)
So This Is Depravity (1980)

People, Way

“Such was Gods Poem, this Worlds new Essay;
So wild and rude in its first draught it lay;
Th' ungovern'd parts no Correspondence knew,
An artless war from thwarting Motions grew;
Till they to Number and fixt Rules were brought
By the eternal Minds Poetique Thought.
Water and Air he for the Tenor chose,
Earth made the Base, the Treble Flame arose,
To th' active Moon a quick brisk stroke he gave,
To Saturns string a touch more soft and grave.
The motions Strait, and Round, and Swift, and Slow,
And Short, and Long, were mixt and woven so,
Did in such artful Figures smoothly fall,
As made this decent measur'd Dance of All.”

Abraham Cowley (1618–1667) British writer

Book I, lines 451-464
Davideis (1656)

God, War, World, Water

“he took a few, the tribe of Abraham. He established a perfect despotism—with no schools, with no philosophy, with no art, with no music—nothing but the sacrifices of dumb beasts—nothing but the abject worship of a slave. Not a word upon geology, upon astronomy; nothing, even, upon the science of medicine. Thus God spent hours and hours with Moses upon the top of Sinai, giving directions for ascertaining the presence of leprosy and for preventing its spread, but it never occurred to Jehovah to tell Moses how it could be cured. He told them a few things about what they might eat—prohibiting among other things four-footed birds, and one thing upon the subject of cooking. From the thunders and lightnings of Sinai he proclaimed this vast and wonderful fact: “Thou shalt not seethe a kid in its mother’s milk.””

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

Some Reasons Why (1881)

God, School, Music, Bird

“Now let acknowledge the fact that to explain the meaning of painting is difficult. And when the form and the content are really new, there is not even a vocabulary with which to attempt to explain the new work. This is a problem for critics and a difficult problem. I think it is about time for the critics to face this problem, as well as the fact that there are a few new forms and ideas in modern painting, that these have validity, that they are here to stay and will be developed whether opposed or not… They should investigate the serious ideas underlying the painting which they malign.”

Adolph Gottlieb (1903–1974) American artist

Gottlieb's quote on the attacks of critics on abstract art, 1948
Quote from Gottlieb's Lecture, given at 'Forum: the Artist Speaks', museum of Modern Art, New York, May 5, 1948.
1940s

Quotes, Idea, Problem, Thinking

“The world as a sense, independent of the image, of the idea - this is the essence of the content of art. [My] square is not an image, just as a switch or socket are not the current.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Malevich
Quote of Malevich, in his letter to Konstantin Rozhdestvenskii, 21 April, 1927, private archive, Moscow (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 27
1921 - 1930

World, Idea, Sense

“Barry was one of the first to see that mass and volume in sculpture were not dependent upon visibility… But also, and perhaps more importantly, that language was a necessary component to communicate the idea in conceptual art.”

Robert Morgan (1943) American art historian

Robert C. Morgan, cited in: Genocchio, Benjamin. " A Career Built on Exploring the Boundaries of Art http://www.nytimes.com/2003/11/30/nyregion/a-career-built-on-exploring-the-boundaries-of-art.html", The New York Times, November 30, 2003

Communication, Idea, Dependency

“Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905

Life, Soul, Suffering, Painting

“Art must break the chains, all rules and formulas.”

Remy de Gourmont (1858–1915) French writer

L'Idealisme esaay in Le Chemin de Velours 1902
Other

“I'm not saying that all college students are subhuman — I'm just saying that if you aim to spend a few years mastering the art of pomposity, these are places where you can be taught by undisputed experts.”

Lester Bangs (1948–1982) American music critic and journalist

"The Clash" (December 1977), p. 235
Psychotic Reactions and Carburetor Dung (1988)

“"(Guru Mani Madhava Chakiar) began playing the dual role of Parvati and Shiva…sat on a wooden chair…I have never ever seen a Parvati so exquisitely beautiful. I have never seen a Shiva so handsome and so cunning. I sat there and wept as if I were alone in the presence of God. I then realized what theatre was all about — the falsehood of that old man made me arrive at a state where inhibitions and convictions, all became so fluid and beautiful. And this vision has remained with me always"
- Dr. Vijaya Mehta (Executive Director, National Center for Performing Arts- Bombay, acclaimed Indian theatre personality) about her experience of watching 72 year old Guru's Abhinaya of Parvativiraha”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya Source: Theatre is a great lie that gets us to arrive at a great truth- Dr.Vijaya Mehta http://www.rotaryclubofbombay.org/ps121206.htm

God, Beauty, Personality

“A culture is not only the language and the arts of a people. It is all their history, all their hopes for the future.”

Pierre Stephen Robert Payne (1911–1983) British lecturer, novelist, historian, poet and biographer

The Corruptions of Society, p. 9 (See also: The American Dream..)
The Corrupt Society - From Ancient Greece To Present-Day America (1975)

People, Hope, History, Future

“The monastic movement … was directed to the achievement of a Christian life, apart from civilization, in obedience to the laws of Christ, and in pursuit of a perfection wholly distinct from the aims that men seek in politics and economics, in sciences and arts.”

H. Richard Niebuhr (1894–1962) American theologian

Source: Christ and Culture (1951), p. 56

Life, Men, Law, Science

“In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905

Love, Thinking, Time, Sun

“The melodic curves of speech are an expression of the complete organism and of all phases of its spiritual activities. They demonstrate whether a man is stupid or intelligent, sleepy or awake, tired or alert. They tell us whether he is a child or an old man, whether it is morning or evening, light or darkness, heat or frost, and disclose whether a person is alone or in company. The art of dramatic writing is to compose a melodic curve that will, as if by magic, reveal immediately a human being in one definite phase of his existence.”

Leoš Janáček (1854–1928) Czech composer

Leoš Janáček: Letters and Reminiscences (Stedron, Bohumir, ed. Translated by Geraldine Thomsen. Prague: Artia, 1995).

Stupidity, Intelligence, Light, Personality

“Like gladiator games and pyramid building, opera has always been a gloriously money-losing proposition. It is the most extravagant of arts, requiring the constant support of kings, dictators, plutocrats, and town councils. Box-office success is no solution. San Francisco Opera loses money at every sold-out performance. Sane business practices simply don’t suffice. Composer Richard Wagner’s patron, King Ludwig II of Bavaria, was the ideal operatic angel — very rich and certifiably insane. Mel Brooks’ shyster producer Max Bialystock need not have mounted Springtime for Hitler to score a surefire loss. Aida would have done just fine.”

Dana Gioia (1950) American writer

"Drama at the Opera House," http://www.danagioia.net/essays/eoperahouse.htm San Francisco Magazine (September 2001) Essays

Money, Angels, Game, Business

“I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity.”

Glenn Gould (1932–1982) Canadian pianist

Attributed to Glenn Gould (1962) in Payzant (Glenn Gould: Music and Mind), p. 64

Men, Heart

“There is reason, however, to think that the author would have rendered it much more interesting, and have carried it to si higher degree of perfection, had he lived in an age more enlightened and better informed in regard to the mathematics and natural philosophy. Since the death of that mathematician, indeed, the arts and sciences have been so much improved, that what in his time might have been entitled to the character of mediocrity, would not at present be supportable. How many new discoveries in every part of philosophy? How many new phenomena observed, some of which have even given birth to the most fertile branches of the sciences? We shall mention only electricity, an inexhaustible source of profound reflection, and of experiments highly amusing. Chemistry also is a science, the most common and slightest principles of which were quite unknown to Ozanam. In short, we need not hesitate to pronounce that Ozanam's work contains a multitude of subjects treated of with an air of credulity, and so much prolixity, that it appears as if the author, or rather his continuators, had no other object in view than that of multiplying the volumes.
To render this work, then, more worthy of the enlightened agt in which we live, it was necessary to make numerous corrections and considerable additions. A task which we have endeavoured to discharge with all diligence”

Jean-Étienne Montucla (1725–1799) French mathematician

Source: Preface to Recreations in Mathematics and Natural Philosophy. (1803), p. vi; As cited in: Tobias George Smollett. The Critical Review: Or, Annals of Literature http://books.google.com/books?id=T8APAAAAQAAJ&pg=PA412, Volume 38, (1803), p. 412

Death, Age, Mathematics, Birth

“God is love, I said, but art's the possibility of forms, and shadows are the source of identity.”

Ralph Ellison book Three Days Before the Shooting...

Source: Three Days Before the Shooting... (2010), p. 987.

Love, God

“In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there… There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition Cubism and Abstract Art was held at the Museum of Modern Art in New York… At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), p. 103

Men, Appearance, Science, Evil

“At present and especially in academia, there is widespread doubt and agnosticism with respect to the very existence of God. But if we don't know that there is such a person as God, we don't know the first thing (the most important thing) about ourselves, each other and our world. This is because (from the point of view of the model) the most important truths about us and them, is that we have been created by the Lord, and utterly depend upon him for our continued existence. We don't know what our happiness consists in, and we don't know how to achieve it. We don't know that we have been created in the image of God, and we don't grasp the significance of such characteristically human phenomena as love, humor, adventure, science, art, music, philosophy, history, and so on.”

Alvin Plantinga book Warranted Christian Belief

[2000, Warranted Christian Belief, 9780195131925, 217, http://www.ccel.org/ccel/plantinga/warrant3.vi.ii.iv.ii.html]

Love, God, Happiness, Truth

“The custom official was desperate, he did not know whether they were pictures, wood ware or even arms [about his abstract collage art, Schwitters exported to France in 1939]. I got the impression he had an inner struggle with two options, either to have me arrested or to call the lunatic asylum. Finally he did not want to make a fool of himself, and accepted they were paintings, especially because another customs official knew me personally and confirmed that I was an artist.”

Kurt Schwitters (1887–1948) German artist

In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s

Fools, Painting, Personality

“A man’s style in any art should be like his dress — it should attract as little attention as possible.”

Samuel Butler (1835–1902) novelist

A Man's Style
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

“To the Führer. This is the truth which bound me to thee: I looked for thee and found my Fatherland. I was a leaf floating in limitless space. Now thou art my homeland and my tree. How far would I be carried by the wind, wert thou not the strength that flows up from the roots. I believe in thee, for thou art the nation. I believe in Germany. For thou art Germany's son.”

Baldur von Schirach (1907–1974) German Nazi leader convicted of crimes against humanity in the Nuremberg trial

A poem written by Schirach about Hitler. Quoted in "Dem Führer: Gedichte für Adolf Hitler" - Page 7 - by Karl Hans Bühner - German poetry - 1939

Truth, Tree

“Modernity is the transitory, fugitive, contingent, is but one half of art, of which the other half is the eternal and immutable.”

Charles Baudelaire Le Peintre de la vie moderne

La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable. IV: "La modernite" http://fr.wikisource.org/wiki/La_Modernit%C3%A9 Le peintre de la vie moderne (1863)

“Philosophy resembles poetry in being an art for enforcing meditation, for driving the mind inwards until it sinks into its Object.”

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

The Usurpation Of Language (1910)

“They [the Paris art-critics] wish to force me into their drawing-room art, to break my spirit. No, no! I was born as a peasant and a peasant I will die. I say what I feel. I paint things as I see them, and I will hold my ground without retreating one sabot; if necessary, I will fight for honour.”

Jean-François Millet (1814–1875) French painter

Quote from his letter, March 1859; as quoted by Arthur Hoeber 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. 53 his now famous picture 'Death and the Woodcutter' https://upload.wikimedia.org/wikipedia/commons/d/dd/Death-and-the-woodcutter-jean-francois-millet3.jpg, had been rejected at the Salon, and the important and conservative journal 'Gazette des Beaux Arts' was most indignant. The well known Hedouin engraved this work. 1851 - 1870

Feeling, Fight, Drawing, Painting

“The great moral question of the twenty-first century is this: if all knowledge, all culture, all art, all useful information can be costlessly given to everyone at the same price that it is given to anyone; if everyone can have everything, anywhere, all the time, why is it ever moral to exclude anyone?”

Eben Moglen (1959) American law professor and free software advocate

The DotCommunist Manifesto, UNC-Chapel Hill, Howard W. Odum Institute, November 8, 2001 http://video.google.com/videoplay?docid=-2263095526020953463.

Question, Knowledge, Time

“Suppose then I want to give myself a little training in the art of reasoning; suppose I want to get out of the region of conjecture and probability, free myself from the difficult task of weighing evidence, and putting instances together to arrive at general propositions, and simply desire to know how to deal with my general propositions when I get them, and how to deduce right inferences from them; it is clear that I shall obtain this sort of discipline best in those departments of thought in which the first principles are unquestionably true. For in all 59 our thinking, if we come to erroneous conclusions, we come to them either by accepting false premises to start with—in which case our reasoning, however good, will not save us from error; or by reasoning badly, in which case the data we start from may be perfectly sound, and yet our conclusions may be false. But in the mathematical or pure sciences,—geometry, arithmetic, algebra, trigonometry, the calculus of variations or of curves,—we know at least that there is not, and cannot be, error in our first principles, and we may therefore fasten our whole attention upon the processes. As mere exercises in logic, therefore, these sciences, based as they all are on primary truths relating to space and number, have always been supposed to furnish the most exact discipline. When Plato wrote over the portal of his school. “Let no one ignorant of geometry enter here,” he did not mean that questions relating to lines and surfaces would be discussed by his disciples. On the contrary, the topics to which he directed their attention were some of the deepest problems,—social, political, moral,—on which the mind could exercise itself. Plato and his followers tried to think out together conclusions respecting the being, the duty, and the destiny of man, and the relation in which he stood to the gods and to the unseen world. What had geometry to do with these things? Simply this: That a man whose mind has not undergone a rigorous training in systematic thinking, and in the art of drawing legitimate inferences from premises, was unfitted to enter on the discussion of these high topics; and that the sort of logical discipline which he needed was most likely to be obtained from geometry—the only mathematical science which in Plato’s time had been formulated and reduced to a system. And we in this country [England] have long acted on the same principle. Our future lawyers, clergy, and statesmen are expected at the University to learn a good deal about curves, and angles, and numbers and proportions; not because these subjects have the smallest relation to the needs of their lives, but because in the very act of learning them they are likely to acquire that habit of steadfast and accurate thinking, which is indispensable to success in all the pursuits of life.”

Joshua Girling Fitch (1824–1903) British educationalist

Source: Lectures on Teaching, (1906), pp. 291-292

Life, God, Truth, World

“In case the buyer wishes this act of integration of the work of art with himself to take place, Yves Klein must.... plus two witness, throw half of the gold received in the ocean, into a river or in some place of nature where this gold cannot be retrieved by anyone. From this moment on, the immaterial pictorial sensitivity zone belongs to the buyer absolutely and intrinsically.”

Yves Klein (1928–1962) French artist

Source: before 1960, Ritual for the Relinquishment of the immaterial Pictorial Sensitivity Zones', Yves Klein, 1957-59, p. 207

Nature

“Sibelius is unquestionably a leader in the front rank of symphonic composers. He has got out of the ruts worn by his predecessors far more completely than Brahms got away from Beethoven, or even Richard Strauss from Wagner. If someone would only burn Finlandia he would come to our young people as an entirely original inventor of a new art form and a new harmony technique.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

George Bernard Shaw, in the Manchester Guardian, November 1, 1938.
Criticism

People

“Nature is an outcry, unpolished truth; the art—a euphemism—tamed wilderness.”

Dejan Stojanovic (1959) poet, writer, and businessman

Dancing of Sounds http://www.poetrysoup.com/famous/poem/21378/Dancing_of_Sounds From the poems written in English

Truth, Nature

“Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Law, Mathematics, Science, Painting

“Before 1940 there was relatively little abstract art in America. Most of it was relatively geometric versions of Cubism, or of Mondrian and De Stijl, or of Arp reliefs, and the like. So that when our painting [of the artists of the New York School: Abstract Expressionism first appeared, the critics at once realized that to describe it as 'abstract' would be misleading... In America, the word (I suppose taken from Germany) for something highly emotional is 'expressionist', and some critic, either in the New Yorker or the New York Times then called it Abstract Expressionism, meaning that this was a very emotional art, but an abstract one.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 80
1960s, Interview with David Sylvester', (1960)

School, Appearance, Time, Painting

“1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.
2. This world of imagination is fancy-free and violently opposed to common sense.
3. It is our function as artists to make the spectator see the world our way not his way.
4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. (Rothko said this is the essence of academicism.)
6. There is no such thing as a good painting about nothing.
7. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.”

Adolph Gottlieb (1903–1974) American artist

June 13, 1943 edition of the New York Times, brief manifesto: Adolph Gottlieb with Mark Rothko and Barnett Newman.
1940s

Truth, World, Way, Imagination

Quotes about art page 50

Quotes about art
page 50