“If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine.
The artist spends a lifetime in pursuing the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character”

— Willa Cather

"Miss Jewett"
Not Under Forty (1936)
Context: One might say that every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality which one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden... It is a common fallacy that a writer, if he is talented enough, can achieve this poignant quality by improving upon his subject-matter, by using his "imagination" upon it and twisting it to suit his purpose. The truth is that by such a process (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a badly built and pretentious house, looks poor and shabby after a few years. If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine.
The artist spends a lifetime in pursuing the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other. And at the end of a lifetime he emerges with much that is more or less happy experimenting, and comparatively little that is the very flower of himself and his genius.

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Willa Cather 99

American writer and novelist 1873–1947

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“The artist is the only one who detaches himself from life, opposes his personality against it, he is the only one who orders things as he wishes them to be in place of things as they are. Thus for him life is not a fait accompli, it is something to remake, to do again. He takes possession of his gifts in order to continue, to change, He makes his choice, it is he who creates the conceptions of beautiful and ugly, those are the things to preserve, the things to change. At the seat of the things that it is necessary to change he puts his desires, his aspirations, in one word, his personality…”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

“The Church must preach to the bourgeois on his duties, must reveal to him values that were more especially his own, must set the seal of divine approval on his efforts, on his work; and, satisfied with himself, he would be no less so with God and with his Church. … The Church must not present him with far-ranging concepts or try to raise him out of his own sphere but, rather, talk to him of the daily round, of the minute concerns of life, and tell him that God required no more of him. That was what the Jesuits realized very clearly.”

Bernard Groethuysen (1880–1946) French literary historian, translator and writer

Source: The Bourgeois: Catholicism vs. Capitalism in Eighteenth-Century France (1927), pp. 160-162

“Fortunately, a sculptor's style and aim are, to a great extent, dictated to him by his materials. To make a sculpture seem at all moving or inspiring, an artist must, of course, be gifted with a certain personality that speaks movingly through the subject and materials of his work. But he must select appropriate materials, and use them appropriately, too... My materials often dictate my change of aims, and I choose to work in a different material much as a man may suddenly feel an appetite for a change in diet.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, pp. 154-155

“We are talking about an artist; and for the enjoyment of the artist the mask must be to some extent moulded on the face. What he makes outside him must correspond to something inside him; he can only make his effects out of some of the materials of his soul.”

G. K. Chesterton (1874–1936) English mystery novelist and Christian apologist

The Dagger with Wings (1926)

“A judge is to give effect in general not to his own scale of values, but to the scale of values revealed to him in his readings of the social mind. … Objective tests may fail him, or may be confused as to bewilder. He must then look within himself.”

Benjamin N. Cardozo (1870–1938) United States federal judge

p, 125
Other writings, The Paradoxes of Legal Science (1928)

“Thomas Eakins was a man of great character. He was a man of iron will and his will to paint and to carry out his life as he thought it should go. This he did. It cost him heavily but in his works we have the precious result of his independence, his generous heart and his big mind. Eakins was a deep student of life, and with a great love he studied humanity frankly. He was not afraid of what his study revealed to him.”

Thomas Eakins (1844–1916) American painter

Robert Henri, open letter to the Art Students League, (1917-10-29).

“He that will have his son have a respect for him and his orders, must himself have a great reverence for his son.”

John Locke book Some Thoughts Concerning Education

Sec. 71; Note: Here Locke quotes Juvenal
Some Thoughts Concerning Education (1693)
Context: He that will have his son have a respect for him and his orders, must himself have a great reverence for his son. Maxima debetur pueris reverentia [The greatest respect is owed to the children].

“The best thing you can do for your fellow, next to rousing his conscience, is — not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself.”

George MacDonald (1824–1905) Scottish journalist, novelist

The Fantastic Imagination (1893)
Source: A Dish of Orts
Context: A fairytale, a sonata, a gathering storm, a limitless night, seizes you and sweeps you away: do you begin at once to wrestle with it and ask whence its power over you, whither it is carrying you? The law of each is in the mind of its composer; that law makes one man feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only and sweetness. To one, the cloudy rendezvous is a wild dance, with a terror at its heart; to another, a majestic march of heavenly hosts, with Truth in their centre pointing their course, but as yet restraining her voice. The greatest forces lie in the region of the uncomprehended.
I will go farther. The best thing you can do for your fellow, next to rousing his conscience, is — not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding — the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be.

“My earliest memories of my father are of seeing him work at his desk and realizing that he was happy. I did not know it then, but that was one of the most precious gifts a father can give his child.”

Malcolm Gladwell (1963) journalist and science writer

Source: Outliers: The Story of Success

“The more the Dakota have to do with the white, the worse. The whites give him whiskey to get his furs and bimeby he don't want to trap so many furst but he want plenty more whiskey. The white traders take his girl, and all he get in swap is a disease. They take his land, and all he get is a leetle annuity so he don't do any work and starve slow. The Indian gets white man's gun an he is drunk and kill his own brother and they call him sinful. That's what he get from the white man—fine kettle, fine gun, fine blanket, the big pox, the small pox and religion.”

Sinclair Lewis (1885–1951) American novelist, short-story writer, and playwright

The God-Seeker (1949), Ch. 20

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