“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.”

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

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Robert Motherwell42

American artist 1915–1991

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“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), p. 38

“Our aesthetic judgment demands harmony between the representation, and the represented and in this sense science is often more artistic than modern art.”

Karl Pearson book The Grammar of Science

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The Grammar of Science (1900)

“For an artist there is no more serious and, at the same time, more joyous task than to create, through art, a new aesthetic, and ultimately, a new way of being.”

Karel Zeman (1910–1989) Czech film director, artist and animator

Quoted in Pauline Sameshima, Seeing Red: A Pedagogy of Parallax: an Epistolary Bildungsroman on Artful Scholarly Inquiry http://books.google.com/books?id=rvbxuB9KioIC&pg=PA157 (Youngstown, NY: Cambria Press, 2007), pp. 156–157, accessed 26 August 2013

“No respectable Sikh family would buy art merely for its aesthetic qualities.”

Shamini Flint book Inspector Singh Investigates: A Most Peculiar Malaysian Murder

Inspector Singh Investigates: A Most Peculiar Malaysian Murder, Cap 4

“The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 137, "Criticism and Its Premises"

“Calcutta is like a work of modern art that neither makes sense nor has utility, but exists for some esoteric aesthetic reason.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

A Strange and Sublime Address (1991)

“The representation of an object, in itself (the objectivity as the aim of the representation), is something that has nothing to do with art, although the use of representation in a work of art does not rule out the possibility of its being of a high artistic order. For the Suprematist, therefore, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him; and the ideas of the conscious mind are worthless. Feeling is the decisive factor.... and thus art arrives at non-objective representation – at Suprematism.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, 1927 in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 452
1921 - 1930

“The word art has in ordinary usage three senses. First, it means the creation of objects or the pursuit of activities called works of art, by people called artists; these works being distinguished from other objects and acts not merely as human products, but as products intended to be beautiful. Secondly, it means the creation of objects or the pursuit of activities called artificial as opposed to natural; that is to say objects created or activities pursued by human beings consciously free to control their natural impulses and to organize their life in a plan. Thirdly, it means that frame of mind which we call artistic, the frame of mind in which we are aware of beauty.”

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

Source: Outlines of a Philosophy of Art, 1925, p. 7

“This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 70

“I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image.”

Stuart Davis (1892–1964) American painter

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

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