“Sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.”

— Albrecht Dürer

The Art of Measurement (1525).

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Albrecht Dürer 6

German painter, printmaker, mathematician, and theorist 1471–1528

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“Technical criticism in particular is the despair of the artist. No one but an idiot would offer a poet his comments in terms of spondees and trochees; why must the painter daily suffer the indignity? Any picture which makes one conscious first of its technical qualities, good or bad, is not a good picture, whatever else it may be.”

Patrick Swift (1927–1983) British artist

The Artist Speaks (1951)

“It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied.”

Wolfgang Amadeus Mozart (1756–1791) Austrian Romantic composer

Spoken in Prague, 1787, to conductor Kucharz, who led the rehearsals for Don Giovanni, from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

“The art of 'figuring' or 'picturing' is not a fine art. An artist who is lobbying as a 'creature of circumstances' or log rolling as a 'victim of fate' is not a fine master artist. No one ever forces an artist to be pure.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), pp. 156-157

“So there are plenty of ingenious minds out there that are at work finding ways in which they can wreak terror upon other nations. It's real, and that's the reason why we have to intensify our efforts, and that's why this is so important.”

William S. Cohen (1940) American politician

DoD News Briefing, Monday, April 28, 1997 - 8:45 a.m. EDT http://www.fas.org/news/usa/1997/04/bmd970429d.htm
Context: The mere fear that there is a mole within an agency can set off a chain reaction and a hunt for that particular mole which can paralyze the agency for weeks and months and years even, in a search. The same thing is true about just the false scare of a threat of using some kind of a chemical weapon or a biological one. There are some reports, for example, that some countries have been trying to construct something like an Ebola Virus, and that would be a very dangerous phenomenon, to say the least. Alvin Toffler has written about this in terms of some scientists in their laboratories trying to devise certain types of pathogens that would be ethnic specific so that they could just eliminate certain ethnic groups and races; and others are designing some sort of engineering, some sort of insects that can destroy specific crops. Others are engaging even in an eco- type of terrorism whereby they can alter the climate, set off earthquakes, volcanoes remotely through the use of electromagnetic waves.
So there are plenty of ingenious minds out there that are at work finding ways in which they can wreak terror upon other nations. It's real, and that's the reason why we have to intensify our efforts, and that's why this is so important.

“In simple terms: art has not been a public nuisance for quite a while now. either the people have become well-behaved or the perpetrators of nuisances have become tired.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (2003)

“No work which is destined to become a classic can look like the classics which have preceded it. In art, as in biology, there is heredity but no identity with the ascendants. Painters inherit characteristics acquired by their forerunners; that is why no important work of art can belong to any period but its own, to the very moment of its creation. It is necessarily dated by its own appearance. The conscious will of the painter cannot intervene.”

Juan Gris (1887–1927) Spanish painter and sculptor

Quote from 'On the Possibilities of Painting,' lecture, Sociétés des études philosophiques et scientifiques pour l'examen des idées nouvelles, Sorbonne, Paris (1924-05-15), printed in the Transatlantic Review, # 16 (June 1924), pp. 482-488; trans. Douglas Cooper in Horizon, # 80 (August 1946), pp. 113-122

“Ignorance means you didn’t have the necessary knowledge. A person can hardly be blamed for that. Stupidity is the result of knowing what to do but not acting upon that knowledge.”

John C. Maxwell (1947) American author, speaker and pastor

Book Sometimes you win Sometimes you Learn

“You too, find release only in art, you are one of those privileged people who have that gift, and you will be free and at peace so long as you make use of it. Art gives us an inner superiority, for it has scope for every sensation of which human beings are capable, and first and foremost for love, which is the basis for knowledge. The artist loves without wanting to possess, and no one on earth can understand that except other artists, that is why other people think us mad.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Nele van de Velde ((daughter of Henry van de Velde), Frauenkirch, 29 November 1920; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225
1920's

“No, there is now no circumstance known in which it can be affirmed that microscopic beings came into the world without germs, without parents similar to themselves. Those who affirm it have been duped by illusions, by ill-conducted experiments, spoilt by errors that they either did not perceive or did not know how to avoid.”

Louis Pasteur (1822–1895) French chemist and microbiologist

Translation from The Life of Pasteur p. 142 https://archive.org/stream/cu31924012227595#page/n155/mode/2up
Soirées scientifiques de la Sorbonne (1864)

“Analogously to Arnulf Rainer′s ‘overpaintings’, and extending thse with my own actionistic resources, the artist′s head should be in the picture, should become one with the picture, and disappear in it.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 12 (Gunter Brus inDie Schastrommel.Organ der österreichischen Exilregierung.Bolzano:ed. Gunter Brus,June 1972,no.8a, p. 57.)

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Albrecht Dürer 6

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