“The very object of an art, the principle of its artifice, is precisely to impart the impression of an ideal state in which the man who reaches it will be capable of spontaneously producing, with no effort of hesitation, a magnificent and wonderfully ordered expression of his nature and our destinies.”

— Paul Valéry

Remarks on Poetry in The Art of Poetry (1958)

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Paul Valéry 89

French poet, essayist, and philosopher 1871–1945

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“Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith.”

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Source: Sculpting in Time (1986), p. 192
Context: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

“Ecstasy is our very nature, not to be ecstatic is simply unnecessary. To be ecstatic is natural, spontaneous. It needs no effort to be ecstatic, it needs great effort to be miserable.”

Rajneesh (1931–1990) Godman and leader of the Rajneesh movement

The Book of Wisdom
Context: Ecstasy is our very nature, not to be ecstatic is simply unnecessary. To be ecstatic is natural, spontaneous. It needs no effort to be ecstatic, it needs great effort to be miserable. That's why you look so tired, because misery is real hard work; to maintain it is really difficult, because you are doing something against the nature. You are going upstream — that's what misery is.

“It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer’s deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.”

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

1922
Quote from 'Grundbegriffe der neuen Gestaltenden Kunst', essay by Van Doesburg (published between 1921-23 in De Stijl) - last Chapter; as quoted in 'Fifty Years of Accomplishment, From Kandinsky to Jackson Pollock', by Michel Seuphor, Dell Publishing Co. 1964, p. 85-86
1920 – 1926

“There is a Destiny which has the control of our actions, not to be resisted by the strongest efforts of Human Nature.”

George Washington (1732–1799) first President of the United States

Letter to Mrs. George William Fairfax (12 September 1758)
1750s

“In the ideal state, man treats the races of beings affiliated with him, not as objects of pillage, but as beings with rights and feelings and capabilities of happiness and misery, like himself.”

J. Howard Moore (1862–1916)

Source: The New Ethics (1907), Silent Martyrs of Civilization, p. 64

“Industrial progress would undoubtedly be slower under state-control, because the very object of such control is to divert a larger proportion of human genius and effort from these occupations in order to apply them in producing higher forms of wealth.”

J.A. Hobson (1858–1940) English economist, social scientist and critic of imperialism

The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
Context: Industrial progress would undoubtedly be slower under state-control, because the very object of such control is to divert a larger proportion of human genius and effort from these occupations in order to apply them in producing higher forms of wealth. It is not, however, right to assume that progress in the industrial arts would cease under state-industry; such progress would be slower, and would itself partake of a routine character—a slow, continuous adjustment of the mechanism of production and distribution to the slowly-changing needs of the community.<!--section 11, p. 422

“Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)
Context: Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?<!-- Introduction

“If it is asked why Socrates permits certain forms of art to be retained in the ideal state instead of consistently banishing all alike, the answer is surely obvious: these are, in the opinion of Socrates, the forms which art will take in the hands of men who understand its true nature.”

R. G. Collingwood (1889–1943) British historian and philosopher

R. G. Collingwood (1925). "Plato’s philosophy of art." In: Mind. Vaduz, vol. XXXIV, pp.156-7

“God does not love that which is already in itself worthy of love, but on the contrary, that which in itself has no worth acquires worth just by becoming the object of God's love. Agape has nothing to do with the kind of love that depends on the recognition of a valuable quality in its object. Agape does not recognize value, but creates it. Agape loves, and imparts value by loving. The man who is loved by God has no value in himself; what gives him value is precisely the fact that God loves him. Agape is a value-creating principle.”

Anders Nygren (1890–1978) Swedish bishop

Source: Agape and Eros (1930), p. 78

“We must realize the extent to which it is necessary that our knowledge of language be based on history. Only history can impart to words that degree of precision which we need in order to understand them well.”

Michel Bréal (1832–1915) French philologist

Source: Essai de semantique, 1897, p. 112 ; as cited in: Schaff (1962:16).

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Paul Valéry 89

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