“.. we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.... the role of the spectator is to determine the weight of the work on the aesthetic scale.”

— Marcel Duchamp

1951 - 1968, The Creative Act', 1957

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Marcel Duchamp 66

French painter and sculptor 1887–1968

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“The work of art is to dominate the spectator: the spectator is not to dominate the work of art.”

Oscar Wilde book The Soul of Man under Socialism

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.

“Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient', contained in the work.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

“Every truthful work of art must express a definite feeling, must move the spirit of the spectator either to joy or to sadness.... rather than try to unite all sensations, as thought mixed together with a twirling stick.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote in: 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials
undated

“It's the spectator, and not life, that art really mirrors.”

Oscar Wilde (1854–1900) Irish writer and poet

Source: Miscellaneous Aphorisms; The Soul of Man

“The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place... All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from The Writings of Marcel Duchamp (Marchand du Sel) e.d. Michel Sanouille and Elmer Peterson, New York 1973, pp. 139-140
posthumous

“Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.
In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history.
I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

“Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share. Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its entirety: any superfluous detail would replace some other essential detail in the mind of the spectator.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

“This calls for an explanation and it may be this, that no painting, however good it seems to us is anything in itself, except chemicals smeared on a flat surface. The value in the work of art is in the spectator, you see, and a painting has no bigger value than the mental and intellectual forces it arouses in the spectator.”

Asger Jorn (1914–1973) Danish artist

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

“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

“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.”

Andrei Tarkovsky book Sculpting in Time

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.

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Marcel Duchamp 66

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