“The real world with its common logic pushes us toward catastrophe. The artists seek in his work to free himself from this weight. Art is being transformed into politics, love into trade, education into an apparatus for stifling the mind. In the midst of such horrors, clearly only the dream within me has life. But how do other people live? -There is color, virginal expression - new, without a cage, without routine, without limit, a bath of sun and light. We must realize that nothing man does is of any value. The trouble is that people want to be paid. Only sick men can be artists. Their suffering pushes them into the accomplishment of deeds which reinvest the world with meaning. The sensitive man or the artist can only be a sick man in our civilized life, so full of lies. To think of art as a profession, how appealing!”

— Bram van Velde

Painting is man in the face of his downfall.
1960's
Source: Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 134

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Bram van Velde 97

Dutch painter 1895–1981

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“Our work for peace must begin within the private world of each one of us. To build for man a world without fear, we must be without fear. To build a world of justice, we must be just.”

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Context: Our work for peace must begin within the private world of each one of us. To build for man a world without fear, we must be without fear. To build a world of justice, we must be just. And how can we fight for liberty if we are not free in our own minds? How can we ask others to sacrifice if we are not ready to do so?... Only in true surrender to the interest of all can we reach that strength and independence, that unity of purpose, that equity of judgment which are necessary if we are to measure up to our duty to the future, as men of a generation to whom the chance was given to build in time a world of peace.

“The Age of Empty Freedom … does not know that man must first through labour, industry, and art, learn how to know; but it has a certain fixed standard for all conceptions, and an established Common Sense of Mankind always ready and at hand, innate within itself and there present without trouble on its part;—and those conceptions and this Common Sense are to it the measure of the efficient and the real. It has this great advantage over the Age of Science, that it knows all things without having learned anything; and can pass judgment upon whatever comes before it at once and without hesitation,—without needing any preliminary evidence:—'That which I do not immediately comprehend by the conceptions which dwell within me, is nothing,'—says Empty Freedom.”

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“God, how pointless and empty the world is! Days filled with cheap and tarnished moments succeed each other, restless and haunted nights follow in bitter routine: the sun shines without brightness, and the moon rises without light.”

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“The work of art has its origin in an unconscious impulse that springs from collective substrata of universal values common to all men, from which all men draw their gestures, and from which the artist derives the 'archaic' of organic existence. Every man of his own accord extracts the human element from this base, without realizing it, and in an elementary and immediate way.”

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Source: For the Discovery of a Zone of Images', Piero Manzoni, 1957, pp. 16-17

“But many of us seek community solely to escape the fear of being alone. Knowing how to be solitary is central to the art of loving. When we can be alone, we can be with others without using them as a means of escape.”

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Fernand Léger (1881–1955) French painter

Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 12
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Richard Henry Stoddard (1825–1903) American poet

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“The architect hands over to the rich man with the keys to his palace all the ease and comfort to be found in it without being able to enjoy any of it himself. Must the artist not in this way gradually become alienated from his art, since his work, like a child that has been provided for and left home, can no longer have any effect upon its father? And how beneficial it must have been for art when it was intended to be concerned almost exclusively with what was public property, and belonged to everybody and therefore also to the artist!”

Johann Wolfgang von Goethe book Elective Affinities

Dem Reichen übergibt der Baumeister mit dem Schlüssel des Palastes alle Bequemlichkeit und Behäbigkeit, ohne irgend etwas davon mitzugenießen. Muß sich nicht allgemach auf diese Weise die Kunst von dem Künstler entfernen, wenn das Werk wie ein ausgestattetes Kind nicht mehr auf den Vater zurückwirkt? Und wie sehr mußte die Kunst sich selbst befördern, als sie fast allein mit dem öffentlichen, mit dem, was allen und also auch dem Künstler gehörte, sich zu beschäftigen bestimmt war!
Bk. II, Ch. 3, R. J. Hollingdale, trans. (1971), p. 170
Elective Affinities (1809)

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