“Artists strive to free this true and spontaneous self in their work. Creativity, meditation are ways of freeing an inner voice”

Speech to the National Association of Broadcasters, May 9, 1961 (the Wasteland Speech)

Letter to H. E. Kramer, 14-11-1927, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 46 (English translation: Charlotte Burgmans)
1920's

As quoted in "Laura Dern: a Hollywood old-timer at 37" http://articles.baltimoresun.com/2004-08-23/features/0408230242_1_laura-dern-blue-velvet-citizen-ruth by John Anderson, in The Baltimore Sun (August 23, 2004)

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

Original: Un artista senza cuore non vale nulla. Prima di creare qualsiasi opera, il vero artista dà voce al suo cuore.
Source: prevale.net

Source: The Second Light (1986), p. 23

A note Einstein wrote underneath an etching of himself (made by Hermann Struck) which he sent to a friend, Dr. Hans Mühsam. According to the book, "the date is 1920 or perhaps earlier", p. 24
Attributed in posthumous publications, Albert Einstein: The Human Side (1979)

Source: Truth and Method (1960), p. 76
Context: The free artist creates without a commission. He seems distinguished by the complete independence of his creativity and thus acquires the characteristic social features of an outsider whose style of life cannot be measured by the standards of public morality. The concept of the bohemian which arose in the nineteenth century reflects this process. The home of the Gypsies became the generic word for the artist's way of life.
But at the same time the artist, who is as "free as a bird or a fish," bears the burden of a vocation that makes him an ambiguous figure. For a cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the "standpoint of art" can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a "secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.