Quotes about art

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Source: Das Ressentiment im Aufbau der Moralen (1912), L. Coser, trans. (1961), pp. 88-92

Opera and Drama (1851)

Un musicien a dit: en art la vérité, le réel commence quand on ne comprend plus rien à ce qu'on fait, à ce q'uon sait, et qu'il reste en vous une énergie d'autant plus forte qu'elle est contrariée, compressée, comprimée. Il faut alors se présenter avec la plus grande humilité, tout-blanc, tout pur, candide, le cerveau semblant-vide, dans un état d'esprit analogue à celui du communiant approchant la Sainte Table. Il faut évidemment avoir tout son acquis derrière soi et avoir su garder la fraîcheur de l'Instinct.
1940s, Jazz (1947)

In a report, 1792 which Goya was invited to write to the Academy of San Fernando on the subject of teaching art; as cited by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 126
at the end of 1792 Goya abruptly broke off work on his tapestry designs and left Madrid for the South. In Jan. 1793 he wrote a note: 'had been ill for two months and asked permission to stop designing and go to Sevilla to recuperate'. There are no more letters written by Goya then; no one can say more about this crisis / illness, according to Robert Hughes
1790s

In interview with a Korean newspaper, quoted in: KoreAm Journal, Vol. 17 (2006), p. 79
1970s

2015, Young African Leaders Initiative Presidential Summit Town Hall speech (August 2015)

The world goes crazy for Lady Gaga (2009)
Context: My ideas about fame and art are not brand new … We could watch Paris is Burning, we could read The Warhol Diaries, we could go to a party in New York in 1973 and these same things would be being talked about. I guess you could say that I'm a bit of a Warholian copycat. Some people say everything has been done before, and to an extent they are right. I think the trick is to honour your vision and reference and put together things that have never been put together before. I like to be unpredictable, and I think it's very unpredictable to promote pop music as a highbrow medium.

1460a.19
Poetics
Variant: It is Homer who has chiefly taught other poets the art of telling lies skillfully.

Budokwai Bulletin (1947)
Context: I have been asked by people of various sections as to the wisdom and possibility of Judo being introduced with other games and sports at the Olympic Games. My view on the matter, at present, is rather passive. If it be the desire of other member countries, I have no objection. But I do not feel inclined to take any initiative. For one thing, Judo in reality is not a mere sport or game. I regard it as a principle of life, art and science. In fact, it is a means for personal cultural attainment. Only one of the forms of Judo training, so-called randori or free practice can be classed as a form of sport. Certainly, to some extent, the same may be said of boxing and fencing, but today they are practiced and conducted as sports. Then the Olympic Games are so strongly flavored with nationalism that it is possible to be influenced by it and to develop "Contest Judo", a retrograde form as ju-jitsu was before the Kodokan was founded.

Bunmeiron no Gairyaku [An Outline of a Theory of Civilization] (1875).
Context: Robbery and murder are the worst of human crimes; but in the West there are robbers and murderers. There are those who form cliques to vie for the reins of power and who, when deprived of that power, decry the injustice of it all. Even worse, international diplomacy is really based on the art of deception. Surveying the situation as a whole, all we can say is that there is a general prevalence of good over bad, but we can hardly call the situation perfect. When, several thousand years hence, the levels of knowledge and virtue of the peoples of the world will have made great progress (to the point of becoming utopian), the present condition of the nations of the West will surely seem a pitifully primitive stage. Seen in this light, civilization is an open-ended process. We cannot be satisfied with the present level of attainment of the West.

Vague Thoughts On Art (1911)
Context: I cannot help thinking that historians, looking back from the far future, will record this age as the Third Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself, fertilised again an already too inbred Christian creed; so now Orthodoxy fertilised by Science is producing a fresh and fuller conception of life — a love of Perfection, not for hope of reward, not for fear of punishment, but for Perfection's sake. Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish. Those whose sacred suns and moons are ever in the past, tell us that our Art is going to the dogs; and it is, indeed, true that we are in confusion! The waters are broken, and every nerve and sinew of the artist is strained to discover his own safety. It is an age of stir and change, a season of new wine and old bottles. Yet, assuredly, in spite of breakages and waste, a wine worth the drinking is all the time being made.

"Craftsmanship"
I'm a Born Liar (2003)
Context: I discovered that what's really important for a creator isn't what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.

Meditation Symbols in Eastern & Western Mysticism (1988)
Context: The alchemical tradition assumes that every physical art or science is a body of knowledge which exists only because it is ensouled by invisible powers and processes. Physical chemistry, as it is practiced in the modern world, is concerned principally with pharmaceutical or industrial research projects. It is confined within the boundaries of an all-pervading materialism, which binds labor to the advancement of physical objectives.

Source: Prometheus Bound, lines 510–524, as translated by R. Potter (1860)

"Moral Decay" (1937); Later published in Out of My Later Years (1950)
1930s
Context: All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom. It is no mere chance that our older universities developed from clerical schools. Both churches and universities — insofar as they live up to their true function — serve the ennoblement of the individual. They seek to fulfill this great task by spreading moral and cultural understanding, renouncing the use of brute force.
The essential unity of ecclesiastical and secular institutions was lost during the 19th century, to the point of senseless hostility. Yet there was never any doubt as to the striving for culture. No one doubted the sacredness of the goal. It was the approach that was disputed.

"Interview with Henri Matisse" by Jacques Guenne, L'Art Vivant (15 September 1925), translated by Jack Flam in Matisse on Art (1995)
1921 - 1940
Context: Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say.

Playboy interview (May 1995)
Context: The fact is, you get great art only from mutilated egos. Only mutilated egos are obsessive enough. When I entered graduate school in 1968, 1 thought women were going to have all these enormous achievements, that they would redo everything. Then I saw every one of my female friends — these great minds who were going to transform the world — get married, move because their husbands moved and have babies. I screamed at them: What are you doing? Finish your great book! But they all read me the riot act. They said, "Camille, we are not you." They said, "We want life. We want love. We want happiness. We are not happy — like you are — just living off ideas." I am weird.

Golden Sayings of Epictetus
Context: Knowest thou what kind of speck you art in comparison with the Universe?—That is, with respect to the body; since with respect to Reason, thou art not inferior to the Gods, nor less than they. For the greatness of Reason is not measured by length or height, but by the resolves of the mind. Place then thy happiness in that wherein thou art equal to the Gods. (33).

The Art of Peace (1992)
Context: The Art of Peace is the principle of nonresistance. Because it is nonresistant, it is victorious from the beginning. Those with evil intentions or contentious thoughts are instantly vanquished. The Art of Peace is invincible because it contends with nothing.

"Would you like to see a little of it?" said the Mock Turtle. (3 April 2010)
Unfit for Mass Consumption (blog entries), 2010
Context: Could anything be more inimical to art than a fear of emotion, or a fear of "excessive" emotion, or a reluctance to express emotion around others? No, of course not. Art can even best the weights of utter fucking ignorance and totalitarian repression, but it cannot survive emotional constipation.
I want a T-shirt that says, "Art is Emo." We live in an age where people are more apt to believe a thing if they read it on a T-shirt.

"Against Interpretation" (1964), p. 8
Against Interpretation and Other Essays (1966)

Introduction.
Magick Book IV : Liber ABA, Part III : Magick in Theory and Practice (1929)
Context: The essence of
MAGICK
is simple enough in all conscience. It is not otherwise with the art of government. The Aim is simply prosperity; but the theory is tangled, and the practice beset with briars.
In the same way
MAGICK
is merely to be and to do. I should add: "to suffer". For Magick is the verb; and it is part of the Training to use the passive voice. This is, however, a matter of Initiation rather than of Magick in its ordinary sense. It is not my fault if being is baffling, and doing desperate!

The world goes crazy for Lady Gaga (2009)
Context: I don't want to see Bowie in a tracksuit. He never let anyone see him that way. The outlet for my work is not just the music and the videos, it's every breathing moment of my life. I'm always saying something about art and music and fame. That's why you don't ever catch me in sweatpants.

Mount Analogue (1952)

Ode for St. Cecilia's Day (1699), st. 4.
Context: Let echo, too, perform her part,
Prolonging every note with art;
And in a low expiring strain,
Play all the concert o'er again.

As quoted in Inspire! What Great Leaders Do (2004) by Lance Secretan, p. 45
Context: The Art of Peace begins with you. Work on yourself and your appointed task in the Art of Peace. Everyone has a spirit that can be refined, a body that can be trained in some manner, a suitable path to follow. You are here to realize your inner divinity and manifest your innate enlightenment. Foster peace in your own life and then apply the Art to all than you encounter.

http://artdistricts.com/clandestine-culture-between-street-art-and-social-activism/
Context: I can find inspiration from the Renaissance to the contemporary artists, but definitely the most influential movement in my career has been Street Art. The importance of Street Art comes from the fact that this art is available to everyone anywhere, is made from any media using any technique. Street Art lets you do whatever you want in the way you want and do it without asking anybody. This freedom is what makes Street Art unique.

Nobel lecture (1978)
Context: The storyteller and poet of our time, as in any other time, must be an entertainer of the spirit in the full sense of the word, not just a preacher of social or political ideals. There is no paradise for bored readers and no excuse for tedious literature that does not intrigue the reader, uplift him, give him the joy and the escape that true art always grants. Nevertheless, it is also true that the serious writer of our time must be deeply concerned about the problems of his generation. He cannot but see that the power of religion, especially belief in revelation, is weaker today than it was in any other epoch in human history. More and more children grow up without faith in God, without belief in reward and punishment, in the immortality of the soul and even in the validity of ethics. The genuine writer cannot ignore the fact that the family is losing its spiritual foundation.

Japan, The Ambiguous, and Myself (1994)
Context: "The voice of a crying and dark soul" is beautiful, and his act of expressing it in music cures him of his dark sorrow in an act of recovery. Furthermore, his music has been accepted as one that cures and restores his contemporary listeners as well. Herein I find the grounds for believing in the exquisite healing power of art.
This belief of mine has not been fully proved. 'Weak person' though I am, with the aid of this unverifiable belief, I would like to "suffer dully all the wrongs" accumulated throughout the twentieth century as a result of the monstrous development of technology and transport. As one with a peripheral, marginal and off-centre existence in the world I would like to seek how — with what I hope is a modest decent and humanist contribution — I can be of some use in a cure and reconciliation of mankind.

Jean-Christophe (1904 - 1912), Journey's End: The Burning Bush (1911)
Context: "Thou art not alone, and thou dost not belong to thyself. Thou art one of My voices, thou art one of My arms. Speak and strike for Me. But if the arm be broken, or the voice be weary, then still I hold My ground: I fight with other voices, other arms than thine. Though thou art conquered, yet art thou of the army which is never vanquished. Remember that and thou wilt fight even unto death."
"Lord, I have suffered much!"
"Thinkest thou that I do not suffer also? For ages death has hunted Me and nothingness has lain in wait for Me. It is only by victory in the fight that I can make My way. The river of life is red with My blood."
"Fighting, always fighting?"
"We must always fight. God is a fighter, even He Himself. God is a conqueror. He is a devouring lion. Nothingness hems Him in and He hurls it down. And the rhythm of the fight is the supreme harmony. Such harmony is not for thy mortal ears. It is enough for thee to know that it exists. Do thy duty in peace and leave the rest to the Gods."

Context: The fact that so many books still name the Beatles "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all times are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics are still blinded by commercial success: the Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers. No wonder they will think that the Beatles did anything worth of being saved.

"The magician" by Maya Jaggi in The Guardian (17 December 2005) http://books.guardian.co.uk/departments/childrenandteens/story/0,,1669112,00.html
Context: Sometimes one’s very angry and preaches, but I know that to clinch a point is to close it. To leave the reader free to decide what your work means, that’s the real art; it makes the work inexhaustible.

Source: Opus Tertium, c. 1267, Ch. 14 as quoted in J. H. Bridges, The 'Opus Majus' of Roger Bacon (1900) Vol.1 http://books.google.com/books?id=6F0XAQAAMAAJ Preface pp.x-xi
Context: All these foregoing sciences are, properly speaking, speculative. There is indeed in every science a practical side, as Avicenna teaches in the first book of his Art of Medicine. Nevertheless, of Moral Philosophy alone can it be said that it is in the special and autonomatic sense practical, dealing as it does with human conduct with reference to virtue and vice, beatitude and misery. All other sciences are called speculative: they are not concerned with the deeds of the present or future life affecting man's salvation or damnation. All procedures of art and of nature are directed to these moral actions, and exist on account of them. They are of no account except in that they help forward right action. Thus practical and operative sciences, as experimental alchemy and the rest, are regarded as speculative in reference to the operations with which moral or political science is concerned. This science is the mistress of every department of philosophy. It employs and controls them for the advantage of states and kingdoms. It directs the choice of men who are to study in sciences and arts for the common good. It orders all members of the state or kingdom so that none shall remain without his proper work.

Lincoln's Annual Message (9 December 1863), published in the Journal of the House of Representatives : First Session of the Thirty-eighth Congress (1863), p. 30 http://books.google.es/books?id=bKAFAAAAQAAJ&pg=PA30&q=influences, United States Congressional Serial set, N° 1179
Posthumous attributions
Context: The measures provided at your last session for the removal of certain Indian tribes have been carried into effect. Sundry treaties have been negotiated, which will in due time be submitted for the constitutional action of the Senate. They contain stipulations for extinguishing the possessory rights of the Indians to large and valuable tracts of lands. It is hoped that the effect of these treaties will result in the establishment of permanent friendly relations with such of these tribes as have been brought into frequent and bloody collision with our outlying settlements and emigrants. Sound policy and our imperative duty to these wards of the Government demand our anxious and constant attention to their material well-being, to their progress in the arts of civilization, and, above all, to that moral training which under the blessing of Divine Providence will confer upon them the elevated and sanctifying influences, the hopes and consolations, of the Christian faith. I suggested in my last annual message the propriety of remodeling our Indian system. Subsequent events have satisfied me of its necessity. The details set forth in the report of the Secretary evince the urgent need for immediate legislative action.

Source: The God of Jane: A Psychic Manifesto (1981), p. 4
Context: I don't feel "possessed" or "invaded during sessions. I don't feel that some superspirit has "taken over" my body. Instead I feel as if I am practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I'm learning a psychological science that helps me map the contours of consciousness itself.

Novalis (1829)
Context: When we speak of the aim and Art observable in Shakespeare's works, we must not forget that Art belongs to Nature; that it is, so to speak, self-viewing, self-imitating, self-fashioning Nature. The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.

Jean-Christophe (1904 - 1912), Journey's End: The Burning Bush (1911)
Context: "Thou art not alone, and thou dost not belong to thyself. Thou art one of My voices, thou art one of My arms. Speak and strike for Me. But if the arm be broken, or the voice be weary, then still I hold My ground: I fight with other voices, other arms than thine. Though thou art conquered, yet art thou of the army which is never vanquished. Remember that and thou wilt fight even unto death."
"Lord, I have suffered much!"
"Thinkest thou that I do not suffer also? For ages death has hunted Me and nothingness has lain in wait for Me. It is only by victory in the fight that I can make My way. The river of life is red with My blood."
"Fighting, always fighting?"
"We must always fight. God is a fighter, even He Himself. God is a conqueror. He is a devouring lion. Nothingness hems Him in and He hurls it down. And the rhythm of the fight is the supreme harmony. Such harmony is not for thy mortal ears. It is enough for thee to know that it exists. Do thy duty in peace and leave the rest to the Gods."

Fiction, The Crawling Chaos (1921)
Context: Of the pleasures and pains of opium much has been written. The ecstasies and horrors of De Quincey and the paradis artificiels of Baudelaire are preserved and interpreted with an art which makes them immortal, and the world knows well the beauty, the terror and the mystery of those obscure realms into which the inspired dreamer is transported. But much as has been told, no man has yet dared intimate the nature of the phantasms thus unfolded to the mind, or hint at the direction of the unheard-of roads along whose ornate and exotic course the partaker of the drug is so irresistibly borne.

Lecture IV
Lectures on Art (1870)
Context: The entire vitality of art depends upon its being either full of truth, or full of use; and that, however pleasant, wonderful, or impressive it may be in itself, it must yet be of inferior kind, and tend to deeper inferiority, unless it has clearly one of these main objects, — either to state a true thing, or to adorn a serviceable one.

Fragment No. 114
Blüthenstaub (1798)
Context: The art of writing books is not yet invented. But it is at the point of being invented. Fragments of this nature are literary seeds. There may be many an infertile grain among them: nevertheless, if only some come up!

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 208
Context: The number one problem in academia today is not ignorant students but ignorant professors, who have substituted narrow “expertise” and “theoretical sophistication” (a preposterous term) for breadth and depth of learning in the world history of art and thought. … Art is a vast, ancient interconnected web-work, a fabricated tradition. Overconcentration on any one point is a distortion. This is one of the primary reasons for the dullness and ineptitude of so much twentieth-criticism, as compared to nineteenth-century belles-lettres.

1.
The Law
Context: Medicine is of all the Arts the most noble; but, owing to the ignorance of those who practice it, and of those who, inconsiderately, form a judgment of them, it is at present far behind all the other arts. Their mistake appears to me to arise principally from this, that in the cities there is no punishment connected with the practice of medicine (and with it alone) except disgrace, and that does not hurt those who are familiar with it. Such persons are like the figures which are introduced in tragedies, for as they have the shape, and dress, and personal appearance of an actor, but are not actors, so also physicians are many in title but very few in reality.

"Physicist, Purge Thyself" in the Chicago Tribune Magazine (22 June 1969)
Various interviews
Context: I sometimes wondered what the use of any of the arts was. The best thing I could come up with was what I call the canary in the coal mine theory of the arts. This theory says that artists are useful to society because they are so sensitive. They are super-sensitive. They keel over like canaries in poison coal mines long before more robust types realize that there is any danger whatsoever.

Napoleon : In His Own Words (1916)
Context: In a battle, as in a siege, the art consists in concentrating very heavy fire on a particular point. The line of battle once established, the one who has the ability to concentrate an unlooked for mass of artillery suddenly and unexpectedly on one of these points is sure to carry the day.

1940s, To Every Briton (1940)
Context: This war has descended upon mankind as a curse and a warning. It is a curse inasmuch as it is brutalizing man on a scale hitherto unknown. All distinctions between combatants and noncombatants have been abolished. No one and nothing is to be spared. Lying has been reduced to an art. Britain was to defend small nationalities. One by one they have vanished, at least for the time being. It is also a warning. It is a warning that, if nobody reads the writing on the wall, man will be reduced to the state of the beast, whom he is shaming by his manners. I read the writing when the hostilities broke out. But I had not the courage to say the word. God has given me the courage to say it before it is too late.

The Art of Persuasion
Context: This art, which I call the art of persuading, and which, properly speaking, is simply the process of perfect methodical proofs, consists of three essential parts: of defining the terms of which we should avail ourselves by clear definitions, of proposing principles of evident axioms to prove the thing in question; and of always mentally substituting in the demonstrations the definition in the place of the thing defined.

Summa Logicae (c. 1323), Prefatory Letter, as translated by Paul Vincent Spade (1995) http://www.pvspade.com/Logic/docs/ockham.pdf
Context: Logic is the most useful tool of all the arts. Without it no science can be fully known. It is not worn out by repeated use, after the manner of material tools, but rather admits of continual growth through the diligent exercise of any other science. For just as a mechanic who lacks a complete knowledge of his tool gains a fuller [knowledge] by using it, so one who is educated in the firm principles of logic, while he painstakingly devotes his labor to the other sciences, acquires at the same time a greater skill at this art.

Source: The Spiritual Life (1947), p. 267
Context: The ethic of reverence for life constrains all, in whatever walk of life they may find themselves, to busy themselves intimately with all the human and vital processes which are being played out around them, and to give themselves as men to the man who needs human help and sympathy. It does not allow the scholar to live for his science alone, even if he is very useful to the community in so doing. It does not permit the artist to exist only for his art, even if he gives inspiration to many by its means. It refuses to let the business man imagine that he fulfills all legitimate demands in the course of his business activities. It demands from all that they should sacrifice a portion of their own lives for others. In what way and in what measure this is his duty, this everyone must decide on the basis of the thoughts which arise in himself, and the circumstances which attend the course of his own life. The self-sacrifice of one may not be particularly in evidence. He carries it out simply by continuing his normal life. Another is called to some striking self-surrender which obliges him to set on one side all regard for his own progress. Let no one measure himself by his conclusions respecting someone else. The destiny of men has to fulfill itself in a thousand ways, so that goodness may be actualized. What every individual has to contribute remains his own secret. But we must all mutually share in the knowledge that our existence only attains its true value when we have experienced in ourselves the truth of the declaration: 'He who loses his life shall find it.

On Fairy-Stories (1939)
Context: The story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed.

1790s, The Age of Reason, Part I (1794)
Context: The Book of Job and the 19th Psalm, which even the Church admits to be more ancient than the chronological order in which they stand in the book called the Bible, are theological orations conformable to the original system of theology. The internal evidence of those orations proves to a demonstration that the study and contemplation of the works of creation, and of the power and wisdom of God, revealed and manifested in those works, made a great part in the religious devotion of the times in which they were written; and it was this devotional study and contemplation that led to the discovery of the principles upon which what are now called sciences are established; and it is to the discovery of these principles that almost all the arts that contribute to the convenience of human life owe their existence. Every principal art has some science for its parent, though the person who mechanically performs the work does not always, and but very seldom, perceive the connection.

Light (1919), Ch. XX The Cult
Context: If, from the idea of motherland, you take away covetousness, hatred, envy and vainglory; if you take away from it the desire for predominance by violence, what is there left of it?
It is not an individual unity of laws; for just laws have no colors. It is not a solidarity of interests, for there are no material national interests — or they are not honest. It is not a unity of race; for the map of the countries is not the map of the races. What is there left?
There is left a restricted communion, deep and delightful; the affectionate and affecting attraction in the charm of a language — there is hardly more in the universe besides its languages which are foreigners — there is left a personal and delicate preference for certain forms of landscape, of monuments, of talent. And even this radiance has its limits. The cult of the masterpieces of art and thought is the only impulse of the soul which, by general consent, has always soared above patriotic littlenesses.

Golden Sayings of Epictetus
Context: Even as bad actors cannot sing alone, but only in chorus: so some cannot walk alone. Man, if thou art aught, strive to walk alone and hold converse with yourself, instead of skulking in the chorus! at length think; look around thee; bestir thyself, that thou mayest know who thou art! (103).

What Art really reveals to us is Nature's lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition.
Intentions (1891)

Source: The Worm Ouroboros (1922), Ch. 28 : Zora Rach Nam Psarrion, p. 427
Context: Thou art nothing. And all thy desires and memories and loves and dreams, nothing. The little dead earth-louse were of greater avail than thou, were it not nothing as thou art nothing. For all is nothing: earth and sky and sea and they that dwell therein. Nor shall this illusion comfort thee, if it might, that when thou art abolished these things shall endure for a season, stars and months return, and men grow old and die, and new men and women live and love and die and be forgotten. For what is it to thee, that shalt be as a blown-out flame? and all things in earth and heaven, and things past and things for to come, and life and death, and the mere elements of space and time, of being and not being, all shall be nothing unto thee; because thou shalt be nothing, for ever.

As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Context: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.

"Printing and Paper Making" in The Common School Journal Vol. V, No. 3 (1 February 1843)
Context: Every school boy and school girl who has arrived at the age of reflection ought to know something about the history of the art of printing, papermaking, and so forth. … All children will work better if pleased with their tools; and there are no tools more ingeniously wrought, or more potent than those which belong to the art of the printer. Dynasties and governments used to be attacked and defended by arms; now the attack and the defence are mainly carried on by types. To sustain any scheme of state policy, to uphold one administration or to demolish another, types, not soldiers, are brought into line. Hostile parties, and sometimes hostile nations, instead of fitting out martial or naval expeditions, establish printing presses, and discharge pamphlets or octavoes at each other, instead of cannon balls. The poniard and the stiletto were once the resource of a murderous spirit; now the vengeance, which formerly would assassinate in the dark, libels character, in the light of day, through the medium of the press.
But through this instrumentality good can be wrought as well as evil. Knowledge can be acquired, diffused, perpetuated. An invisible, inaudible, intangible thought in the silent chambers of the mind, breaks away from its confinement, becomes imbodied in a sign, is multiplied by myriads, traverses the earth, and goes resounding down to the latest posterity.

The Soul of Man Under Socialism (1891)
Context: If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in such a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator: the spectator is not to dominate the work of art. The spectator is to be receptive. He is to be the violin on which the master is to play. And the more completely he can suppress his own silly views, his own foolish prejudices, his own absurd ideas of what Art should be, or should not be, the more likely he is to understand and appreciate the work of art in question.

Bennington College address (1970)
Context: The arts put man at the center of the universe, whether he belongs there or not. Military science, on the other hand, treats man as garbage — and his children, and his cities, too. Military science is probably right about the contemptibility of man in the vastness of the universe. Still — I deny that contemptibility, and I beg you to deny it, through the creation of appreciation of art.

A Man Without a Country (2005)
Context: If you want to really hurt your parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.

On Fairy-Stories (1939)
Context: The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. … But this story has entered History and the primary world; … It has pre-eminently the "inner consistency of reality." There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation.... this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men — and of elves. Legend and History have met and fused.

The Art of Peace (1992)
Context: In the Art of Peace we never attack. An attack is proof that one is out of control. Never run away from any kind of challenge, but do not try to suppress or control an opponent unnaturally. Let attackers come any way they like and then blend with them. Never chase after opponents. Redirect each attack and get firmly behind it.

My Day (1935–1962)
Context: I have waited a while before saying anything about the Un-American Activities Committee's current investigation of the Hollywood film industry. I would not be very much surprised if some writers or actors or stagehands, or what not, were found to have Communist leanings, but I was surprised to find that, at the start of the inquiry, some of the big producers were so chicken-hearted about speaking up for the freedom of their industry.
One thing is sure — none of the arts flourishes on censorship and repression. And by this time it should be evident that the American public is capable of doing its own censoring. Certainly, the Thomas Committee is growing more ludicrous daily. (29 October 1947)

Source: In Search of Lost Time, Remembrance of Things Past (1913-1927), Vol. VII: The Past Recaptured (1927), Ch. III: "An Afternoon Party at the House of the Princesse de Guermantes"
Context: By art alone we are able to get outside ourselves, to know what another sees of this universe which for him is not ours, the landscapes of which would remain as unknown to us as those of the moon. Thanks to art, instead of seeing one world, our own, we see it multiplied and as many original artists as there are, so many worlds are at our disposal, differing more widely from each other than those which roll round the infinite and which, whether their name be Rembrandt or Vermeer, send us their unique rays many centuries after the hearth from which they emanate is extinguished.This labour of the artist to discover a means of apprehending beneath matter and experience, beneath words, something different from their appearance, is of an exactly contrary nature to the operation in which pride, passion, intelligence and habit are constantly engaged within us when we spend our lives without self-communion, accumulating as though to hide our true impressions, the terminology for practical ends which we falsely call life.

Source: Contact (1985), Chapter 24 (p. 431)
Context: The universe was made on purpose, the circle said. In whatever galaxy you happen to find yourself, you take the circumference of a circle, divide it by its diameter, measure closely enough, and uncover a miracle — another circle, drawn kilometers downstream of the decimal point. There would be richer messages farther in. It doesn't matter what you look like, or what you're made of, or where you come from. As long as you live in this universe, and have a modest talent for mathematics, sooner or later you'll find it. It's already here. It's inside everything. You don't have to leave your planet to find it. In the fabric of space and in the nature of matter, as in a great work of art, there is, written small, the artist’s signature. Standing over humans, gods, and demons, subsuming Caretakers and Tunnel builders, there is an intelligence that antedates the universe.

Novalis (1829)
Context: When we speak of the aim and Art observable in Shakespeare's works, we must not forget that Art belongs to Nature; that it is, so to speak, self-viewing, self-imitating, self-fashioning Nature. The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.

Tradition and the Individual Talent (1919)
Context: What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

On his artistic process in “Jean-Michel Basquiat on How to Be an Artist” https://www.artsy.net/article/artsy-editorial-artist-jean-michel-basquiat in Artsy (2019 Jun 6)

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Letter to Frank Belknap Long (27 February 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 293
Non-Fiction, Letters, to Frank Belknap Long

Par l’art seulement, nous pouvons sortir de nous, savoir ce que voit un autre de cet univers qui n’est pas le même que le nôtre et dont les paysages nous seraient restés aussi inconnus que ceux qu’il peut y avoir dans la lune. Grâce à l’art, au lieu de voir un seul monde, le nôtre, nous le voyons se multiplier, et autant qu’il y a d’artistes originaux, autant nous avons de mondes à notre disposition, plus différents les uns des autres que ceux qui roulent dans l’infini et qui, bien des siècles après qu’est éteint le foyer dont il émanait, qu’il s’appelât Rembrandt ou Vermeer, nous envoient encore leur rayon spécial.<p>Ce travail de l’artiste, de chercher à apercevoir sous la matière, sous de l’expérience, sous des mots, quelque chose de différent, c’est exactement le travail inverse de celui que, à chaque minute, quand nous vivons détourné de nous-même, l’amour-propre, la passion, l’intelligence, et l’habitude aussi accomplissent en nous, quand elles amassent au-dessus de nos impressions vraies, pour nous les cacher entièrement, les nomenclatures, les buts pratiques que nous appelons faussement la vie.
Source: In Search of Lost Time, Remembrance of Things Past (1913-1927), Vol. VII: The Past Recaptured (1927), Ch. III: "An Afternoon Party at the House of the Princesse de Guermantes"

VI, 29
Meditations (c. 121–180 AD), Book VI

The Soul of Man Under Socialism (1891)

Chap. 5 : Tales of Theory and Experiment
Dreams of a Final Theory (1992; 2nd edition 1994)

1900s, "The Study of Mathematics" (November 1907)

William Wilson (1839)

Letters from the Earth (1909)

Book I, Ch. 1 http://www.gutenberg.org/files/3187/3187-h/3187-h.htm#link2H_4_0002
Christian Science (1907)

The importance of Street Art comes from the fact that this art is available to everyone anywhere, is made from any media using any technique. Street Art lets you do whatever you want in the way you want and do it without asking anybody. This freedom is what makes Street Art unique.
http://artdistricts.com/clandestine-culture-between-street-art-and-social-activism/

As cited in: Jay Conrad Levinson (1999), Mastering Guerrilla Marketing. p. 218
Marketing Management: Analysis, Planning, Implementation and Control, 1967

note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.
'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

By Hugo Weihe, Christie's International Director of Asian Art and Yamini Mehta quoted in "Raza's painting sold at record price".

http://www.flixster.com/actor/leonardo-di-caprio/leonardo-dicaprio-quotes

Source: Miller, H. (1969). “Creation,” The Henry Miller Reader. New York: New Directions Publishing Corporation. p.33.

2002 TED talk by Mae Jemison https://www.ted.com/talks/mae_jemison_on_teaching_arts_and_sciences_together/transcript?language=en, TED talk "Teach arts and sciences together," February, 2002

Source: The Warrior Within: The Philosophies of Bruce Lee (1996), p. 156

Grundrisse (1857-1858)
Source: Notebook VII, The Chapter on Capital, pp. 628–629.

Calum Worthy (‘The Act’) on the ‘harsh’ sentence Nicholas Godejohn received https://www.goldderby.com/article/2019/calum-worthy-the-act-hulu-nicholas-godejohn-video-interview-transcript/ (April 29, 2019)

Lauren Jauregui Wants to Show You the Real Her, Marie Claire, October 25, 2018 https://www.marieclaire.com/culture/a24180000/lauren-jauregui-expectations-interview/,

Intentions (1891)

Napoleon : In His Own Words (1916)

Dedication, later published as "A Prayer in Time of War"
A Belgian Christmas Eve (1915)

Source: The Power of Now (1997)

Source: Short fiction, Dragonfield and Other Stories (1985), The Pot Child (p. 110)

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