“A work of art bears within itself its own verification: conceptions which are devised or stretched do not stand being portrayed in images, they all come crashing down, appear sickly and pale, convince no one. But those works of art which have scooped up the truth and presented it to us as a living force — they take hold of us, compel us, and nobody ever, not even in ages to come, will appear to refute them.”

— Aleksandr Solzhenitsyn

Nobel lecture (1970)

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Aleksandr Solzhenitsyn 120

Russian writer 1918–2008

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“Every philosophy is complete in itself and, like a genuine work of art, contains the totality. Just as the works of Apelles and Sophocles, if Raphael and Shakespeare had known them, should not have appeared to them as mere preliminary exercises for their own work, but rather as a kindred force of the spirit, so, too reason cannot find in its own earlier forms mere useful preliminary exercises for itself.”

Georg Wilhelm Friedrich Hegel (1770–1831) German philosopher

Difference of the Fichtean and Schellingean System of Philosophy, cited in W. Kaufmann, Hegel (1966), p. 49

“Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights.”

L. P. Jacks (1860–1955) British educator, philosopher, and Unitarian minister

The Usurpation Of Language (1910)
Context: Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights. In this the poet and the philosopher are one. Using language as the lever, they lift thought above the levels where words perplex and retard its flight, and leave it, at last, standing face to face with the object which reveals itself.

“Indeed at times we feel tempted to think that they had finished with their seriously meant philosophical investigations ever before their twelfth year and that at that age they had for the rest of their lives settled their view on the nature of the world and on everything pertaining thereto. We feel so tempted because after all the philosophical discussions and dangerous deviations, … they always come back to what is usually made plausible to us at that tender age and appear to accept this even as the criterion of truth. All heterodox philosophical doctrines, with which they must at times be concerned in the course of their lives, appear to them to exist merely to be refuted and this to establish those others the more firmly.”

Arthur Schopenhauer book Parerga and Paralipomena

Ja, bisweilen fühlt man sich versucht zu glauben, daß sie ihre ernstlich gemeinten philosophischen Forschungen schon vor ihrem zwölften Jahre abgethan und bereits damals ihre Ansicht vom Wesen der Welt, und was dem anhängt, auf immer festgestellt hätten; weil sie, nach allen philosophischen Diskussionen und halsbrechenden Abwegen, unter verwegenen Führern, doch immer wieder bei Dem anlangen, was uns in jenem Alter plausibel gemacht zu werden pflegt, und es sogar als Kriterium der Wahrheit zu nehmen scheinen. Alle die heterodoren philosophischen Lehren, mit welchen sie dazwischen, im Laufe ihres Lebens, sich haben beschäftigen müssen, scheinen ihnen nur dazu- seyn, um widerlegt zu werben und dadurch jene ersteren desto fester zu etabliren.
Sämtliche Werke, Bd. 5, p. 156, E. Payne, trans. (1974) Vol. 1, pp. 143-144
Parerga and Paralipomena (1851), On Philosophy in the Universities

“Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future”

Fernand Léger (1881–1955) French painter

Fernand Léger – Das Figürliche Werk, exhibition catalogue, Köln, 1978, p. 52
Quotes of Fernand Leger, 1970's

“[ Folk art, consists of] work done by ordinary people in the course of their lives, work seldom thought of by those who make or use it as art at all.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 245 as quoted in: John Ross Hall, Mary Jo Neitz, Marshall Battani (2003) Sociology On Culture. p. 196.

“What appears spectral today will be natural tomorrow. Where are such signs and works? How do we recognize the genuine ones? Like everything genuine, its inner life guarantees its truth. All works of art created by truthful minds without regard for the work's conventional exterior remain genuine for all times... The present isolation of the rare, genuine artist is absolutely unavoidable for the moment... This fact leads us to the idea that we are standing today at the turning point of two long epochs, similar to the state of the world fifteen hundred years ago, when there was also a transitional period without art and religion - a period in which great and traditional ideas died and new and unexpected ones took their place.”

Franz Marc (1880–1916) German painter

1911 - 1914, The 'Savages' of Germany' (1912)

“[Art] can speak its own language only as long as the images are alive which refuse and refute the established order.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), p. 62

“The foundations of the universal value of art are given to us now by psychology. This is the common base that enables us to sink its roots to the origins before man and to discover the primary myths of humanity. The artist must confront these myths and reduce them, by means of amorphous and confused materials, to clear images. Since these are atavistic forces that have their origins in the subconscious, the work of art takes on a magical significance.”

Piero Manzoni (1933–1963) Italian artist

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

“We know from many experiences that this is what the work of art does: its life — in which we have shared the alien existences both of this world and of that different world to which the work of art alone gives us access — unwillingly accuses our lives.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"The Profession of Poetry," Partisan Review (September/October 1950) [p. 166]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“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

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Aleksandr Solzhenitsyn 120

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