Jorn's quote, from his speech at the library of Silkeborg, September l0th 1953 (translated from an unpublished Danish manuscript by Guy Atkins) ; as quoted on the website of the Jorn Museum Articles by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255
1949 - 1958, Various sources
“No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow — and if it does not do so it is bad art and false morals.”
Source: The Nude: A Study in Ideal Form (1951), Ch. 1: The Naked and the Nude
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Kenneth Clark 47
Art historian, broadcaster and museum director 1903–1983Related quotes
2004 interview with Entertainment Weekly http://www.abc.net.au/news/2004-04-01/pee-wee-actor-denies-paedophile-claims/162146
2004 Child Porn Charges
To Leon Goldensohn, July 20, 1946, from "The Nuremberg Interviews" by Leon Goldensohn, Robert Gellately - History - 2004 - Page 37
Чувства, самые разнообразные, очень сильные и очень слабые, очень значительные и очень ничтожные, очень дурные и очень хорошие, если только они заражают читателя, зрителя, слушателя, составляют предмет искусства.
What is Art? (1897)
Review of The Painter's Eye and The Nude (1957).
Interview at a concert (RPLA - whose singer James Maker is a friend of Morrisseys)
About the Notre Dame fire, Odds & Ends
Quote from: Caspar David Friedrich, Wieland Schmied; Harry N. Abrams, Inc. New York, 1995, p. 45
undated
Manet's early quote in 1850, spoken to his friend Antonin Proust; as quoted in Manet, Nathalia Brodskaya, Parkstone International, 2011, ISBN 978-1-78042-029-5, p. 12
1850 - 1875
“The work of art is to dominate the spectator: the spectator is not to dominate the work of art.”
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.