Quotes about artist
page 10

“He Titian is the least mannered and consequently the most varied of artists. Mannered talents have but one bias, one usage only. They are more apt to follow the impulse of the hand than to control it. Those that are less mannered must be more varied, for they continually respond to genuine emotion.”

Eugène Delacroix (1798–1863) French painter

5 January 1857 (p. 326)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Color, Light, Sun

“I had felt sick before and had been saved by Sekt. Now I was beginning to feel sick of the Sekt. I would, I knew, shortly have to vomit…. I started gently to move towards one of the open windows. The aims of the artistic policy enunciated by the National Chamber of Film might, said Goebbels, be expressed under seven headings. Oh Christ. First, the articulation of the sense of racial pride, which might, without reprehensible arrogance, be construed as a just sense of racial superiority. Just, I thought, moving towards the breath of the autumn dark, like the Jews, just like the. This signified, Goebbels went on, not narrow German chauvinism but a pride in being of the great original Aryan race, once master of the heartland and to be so again. The Aryan destiny was enshrined in the immemorial Aryan myths, preserved without doubt in their purest form in the ancient tongue of the heartland. Second. But at this point I had made the open window. With relief the Sekt that seethed within me bore itself mouthward on waves of reverse peristalsis. Below me a great flag with a swastika on flapped gently in the night breeze of autumn. It did not now lift my heart; it was not my heart that was lifting. I gave it, with gargoyling mouth, a litre or so of undigested Sekt. And then some strings of spittle. It was not, perhaps, as good as pissing on the flag, but, in retrospect, it takes on a mild quality of emblematic defiance…”

Anthony Burgess (1917–1993) English writer

Fiction, Earthly Powers (1980)

Feeling, Autumn, Sense, Heart

“But we cannot enjoy in isolation; we wish to dazzle others with that which we daily snatch from the world of sense, and in return we wish others to show us their trophies. From a reciprocity of concessions arise those mixed images, which we hasten to confront with artistic creations in order to compute what they contain of the objective; that is of the purely conventional”

Albert Gleizes (1881–1953) French painter

1910s, Du Cubisme (1912)

World, Sense

“The people itself ( and I do not mean the 'masses') has always given art its essential style. The artist merely clarifies and fullfils the will of the people. But when the people does not know what it wants, or worst of all, wants nothing.... then its artists, driven to seeking their own forms, remain isolated, and become martyrs... Folk art – that is, the feeling of people for artistic form – can arise again only when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the memory of generations.”

Franz Marc (1880–1916) German painter

Max Beckmann's opinion on this issue you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446

People, Art, Feeling, Memory

“Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair.”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Love, Study, Passion, Parting

“You can decide what you want to eat for dinner, you can decide to go away for the weekend, and you can decide what clothes you’re going to wear in the morning, but when it comes to artistic things, there’s never a rhyme or reason. It’s, like, they just happen. And they happen when they happen.”

Meat Loaf (1947) American musician, singer, songwriter, record producer and actor

A chat with Meat Loaf (2006)

Clothes

“Gay activism has been naive in its belligerent confidence that “homophobia” will eventually disappear with proper “education” of the benighted. Reeducation of fractious young boys on the scale required would mean fascist obliteration of all individual freedoms. Furthermore, no truly masculine father would ever welcome an feminine or artistic son at the start, since the son’s lack of virility not only threatens but liquidates that father’s identity, dissolving husband into wife. Later there may be public rituals of acceptance, but the damage will already have been done. Gay men are aliens, cursed and gifted, the shamans of our time.”

Camille Paglia (1947) American writer

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 86

Men, Education, Confidence, Boy

“To me, comedies are usually the least funny movies. Movies that are actually a comedy are usually not all that funny. To me Goodfellas and Raging Bull are two of the funniest movies I ever saw. [Vulture, 2010]
The Jackass movies are honestly some of the best movies I’ve ever seen. I laugh so hard at them. Those guys are geniuses. If they had grown up with a different group of people, they could’ve been performance artists at Bard College, and people would be writing papers about them.”

Louis C.K. (1967) American comedian and actor

http://pitchfork.com/features/interviews/7926-louis-ck/ (2010)

People, Guy, Rage

“… especially considering that the whole matter of applying photography to purely artistic ends is in such a state of infancy, and that this idea of deliberate violation of truth to fact, for the sake of securing truth to ideas, has hardly yet been put into practice.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 14

Truth, Idea

“I suppose you are a fool to do it [express a political view as an artist], but if you happen to be more interested in the political question, than the size of your audience, then it doesn't matter.”

Orson Welles (1915–1985) American actor, director, writer and producer

Fools, Question

“I think it’s a responsibility for any artist to protect freedom of expression and to use any way to extend this power.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei Does Not Feel Powerful, 2011

Way, Thinking, Freedom

“But you were brushing out your hair
and singing to yourself.
And, for a moment, I think I saw
what those artists saw —
someone half in love with herself
and half in love with the world.”

John Yau (1950) American poet

"January 18, 1979" lines 7-12, Corpse and Mirror, Henry Holt, 1983

Love, World, Thinking, Singing

“I will achieve it only [being an artist] by perseverance, and by openly asserting my determination to emancipate myself, [but].... I both lament and envy your [Edma's] fate. Bichette [her niece] helps me to understand maternal love; she comes onto my bed every morning and plays so sweetly.... life gets more complicated by the day here now I am gripped by the desire to have children, that' all I need.”

Berthe Morisot (1841–1895) painter from France

in an unpublished extract from a letter of Berthe to Edma, written in 1869; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 31 (private collection)
1860 - 1870

Love, Life, Fate, Children

“Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16]... If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich denke immer viel über die Kunstschule nach [ die Walden seit 1915/16 anfangen möchte].. .Wenn unser Streben wirklich in der Zukunft grosse Fortschritte machen soll, muss die Kunstschule Individualitäten hervorbringen, die durch uns wirklich vo inneren heraus weiter können und anfangen zu schaffen, ohne immer Bilder von anderen zu sehen.
Quote in a letter of Jacoba van Heemskerck to Herwarth Walden in Berlin, 15 August 1917; as cited in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, pp. 15-16
1910's

School, Art, Thinking, Study

“It was during the first years [1906-1910] that we [the Futurist artists] realized the presence of a dualism deep down within us, where another person, whom we ourselves do not know, tends, at the moment of the creative act, to supplant the person we believe ourselves to be and would like to be. It is difficult to bring these two individualities into accord, yet it is upon this accord that the development of a personality largely depends. My first contact with the art of Seurat whom I adopted, once and for all, as my master, did a great deal to help me to express myself in terms of the two simultaneous and often opposed aspirations. This opposition caused me much mental torture, I must admit..”

Gino Severini (1883–1966) Italian painter

In an interview, 1956; as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 247

Art, Help, Dependency, Personality

“To understand a saint, you must hear the devil's advocate; and the same is true of the artist.”

George Bernard Shaw (1856–1950) Irish playwright

The Sanity of Art: An Exposure of the Current Nonsense about Artists being Degenerate (1908)
1900s

Understanding

“Little did the artist know, who neglected his appearance in favor of his work, that the years would produce a breed that spent hours meticulously acquiring a neglected look to appear like an artist.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

"Inversion"
Degrees: Thought Capsules and Micro Tales (1989)

Appearance

“It is harder to see than it is to express. The whole value of art rests in the artist's ability to see well into what is before him.”

Robert Henri (1865–1929) American painter

citation needed

Art

“I miss having to wonder about any aspect of an artist’s life. [This] was a luxury we don’t have anymore. Whether it’s the people surrounding them revealing things about their process or their personal lives, or the artists themselves going on Twitter and telling you what they’re doing in the middle of the night with their girlfriend — it’s like, ‘Wow, um… I really liked you better before you told me that. I really would like to go back to imagining the person that I was imagining.”

Davey Havok (1975) American singer

Alternative Press magazine, December 2009

Life, People, Imagination, Personality

“A is for audition sense, knowing what to prepare for auditions and finding your niche; B is for business sense, submitting through Back Stage, reading Ross Reports, allocating funds every week for materials; C is for common sense, knowing how to weed out scam artists and follow your instincts, not your ego D is for driving sense, performing regularly, taking classes, practicing your craft; and E is for exit sense, which, he says, means know when to leave an audition; exit your emotions. Look for and enter the next audition fresh and enthusiastic.”

Carson Grant (1950) American actor

Davis, Leesa, "Who Got the Part: Carson Grant", Backstage, November 9, 2006, p. 18.
About his ABC's audition philosophy printed in 2006 Backstage.

Business, Sense, Reading

“A painting is above all a product of the artist's imagination, it must never be a copy. If, at a later stage, he wants to add two or three touches from nature, of course it doesn't spoil anything.”

Edgar Degas (1834–1917) French artist

Une peinture, c'est d'abord un produit de l'imagination de l'artiste, ce ne doit jamais être une copie. Si, ensuite, on peut y ajouter deux ou trois accents de nature, evidemment ca ne fait pas de mal.
Quoted by Maurice Sérullaz, L'univers de Degas (H. Scrépel, 1979), p. 13
quotes, undated

Imagination, Nature, Painting

“It isn’t illegal to buy an artist’s work for peanuts and sell it again at any price one can get. But it is an outrage!”

Murray Leinster (1896–1975) Novelist, short story writer

Source: Time Tunnel (1964), Chapter 2 (p. 21).

“Another activity which is being encouraged is that of gardening. This is necessarily somewhat limited, but the opportunity for engaging in it has never been anywhere near exhausted. It makes its appeal alike to youth and age. It is extremely practical on the one hand, and lends itself to the artistic on the other.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Democracy of Sports (1924)

Youth, Age

“.. But it doesn't frighten me, because I studied in France, thank God, and I know of no artist in history who was not 'literary' when it came down to it. Not a single one. And even if they don't appear to be, I know of none and you at least don't recall them, because there is nothing to recall... Sometime or other I'd like to see a << pure >> artist, but I didn't even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word << sujet >> conceals the point of the thing. Yet even the most beautiful and << emptiest >> sujet (an apple, a grape or any << non-figurative painting >>) doesn't help if there are no foundations, either innate or acquired through hard work... Why don't we say clearly: << That is freedom, and this is commitment to the subject >> and << to each tree its berries >>, but let it be a tree and not a donkey..”

Marc Chagall (1887–1985) French artist and painter

Quote in Chagall's letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150
1910's

God, Beauty, History, Tree

“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

Dana Gioia (1950) American writer

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

Men, Children, Dreams, Animals

“And when did mediocrity become excellence in our country? Music is dead in 2011 because Lady Gaga lives. Really? Is that the best we can do? Pa-pa-pa-pa-pa, "Poker Face"? This stuttering, growling midget with a speech impediment is music? Really? This vapid, pop cancer, Madonna mini-me? She makes Miley Cyrus look like John Lennon. She makes Jack Lemon look like John Lennon. I'm sorry. And you don't get to claim you're not accepted at a billion hits on YouTube. And you're not an artist just cause you can wear a live chimpanzee as a bra. Lady Gaga is proof that David Bowie raped Carol Burnett.”

Christopher Titus (1964) actor, writer, podcaster

Neverlution (2011)

Music, Dead, Country

“In a country where feeling for art is not one of the national characteristics, it is particularly difficult to arrive at a common understanding of the term "art". There are many obstacles in the way, and some of them are imposed by the mere existence of such a body as the Royal Academy, for lacking any intuition in this matter of art, the majority of people turn to that institution for guidance, and naturally assume that any work receiving its blessing must be a work of art in the strict meaning of the word, and consequently the artistic quality of a painting is, in the popular estimation, measured in ratio to its degree of photographic realism.”

James Bolivar Manson (1879–1945) British artist

Manson, J.B. The Tate Gallery, p. 8, Thomas Nelson and Sons.

People, Art, Way, Feeling

“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

Art, History, Waiting

“I'm really interested with the way light plays on images and one of the artists that really reawakened my interest in comic books was Frank Miller and his treatment of Daredevil, and then Wolverine and, of course, Batman.”

James Marsters (1962) American actor

Worlds Of Westfield James Marsters Interview (Feb '99) http://www.morethanspike.com/articles.php?ID=164

Books, Way, Light

“Writers who are also artist's only think of themselves as truly living when they are engaged in their sweet labour.”

Edward Storer (1880–1944) British writer

'Leigh Hunt' Herbert and Daniel, London, 1913

Thinking

“I began studying philosophy and economics about the same time. The similarity of the two disciplines struck me at once. I found no difficulty in grasping the differences between the great philosophical systems as they were presented by our textbooks and our teachers. Economic theory was easier still. Indeed, I thought the successive systems of economics were rather crude affairs compared with the subtleties of the metaphysicians. Having run the gamut from Plato to T. H. Green (as undergraduates do) I felt the gamut from Quesnay to Marshall was a minor theme. The technical part of the theory was easy. Give me premises and I could spin speculations by the yard. Also I knew that my 'deductions' were futile…
Meanwhile I was finding something really interesting in philosophy and in economics. John Dewey was giving courses under all sorts of titles and every one of them dealt with the same problem — how we think… And, if one wanted to try his own hand at constructive theorizing, Dewey's notion pointed the way. It is a misconception to suppose that consumers guide their course by ratiocination—they don't think except under stress. There is no way of deducing from certain principles what they will do, just because their behavior is not itself rational. One has to find out what they do. That is a matter of observation, which the economic theorists had taken all too lightly. Economic theory became a fascinating subject—the orthodox types particularly — when one began to take the mental operations of the theorists as the problem…
Of course Veblen fitted perfectly into this set of notions. What drew me to him was his artistic side… There was a man who really could play with ideas! If one wanted to indulge in the game of spinning theories who could match his skill and humor? But if anything were needed to convince me that the standard procedure of orthodox economics could meet no scientific tests, it was that Veblen got nothing more certain by his dazzling performances with another set of premises…
William Hill set me a course paper on 'Wool Growing and the Tariff.”

Wesley Clair Mitchell (1874–1948) American statistician

I read a lot of the tariff speeches and got a new sidelight on the uses to which economic theory is adapted, and the ease with which it is brushed aside on occasion. Also I wanted to find out what really had happened to wool growers as a result of protection. The obvious thing to do was to collect and analyze the statistical data... That was my first 'investigation'.
Wesley Clair Mitchell in letter to John Maurice Clark, August 9, 1928. Originally printed in Methods in Social Science, ed. Stuart Rice; Cited in: Arthur F. Burns (1965, 65-66)

Way, Behavior, Game, Idea

“It is only after years of preparation that the young [artist] should touch color — not color used descriptively, that is, but as a means of personal expression.”

Henri Matisse (1869–1954) French artist

As quoted by Theodore F. Wolff in The Christian Science Monitor (25 March 1985)
Posthumous quotes

Color, Personality

“Only the artist who has a love and an aptitude for craftsmanship should make prints; only when the artist truly prints himself does the work earn the name original print.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

quote of 1921; de:Louis de Marsalle, in 'Uber Kirchners Graphik', Genius 3, no. 2, p. 252; as quoted in 'The Revival of Printmaking in Germany', by I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 40
1920's

Love

“We accepted her as an artist. And with her popularity, everybody, from school kids to grown ups, have watched her sites. People are paying money to watch her. How can there be tolerance for all this? What will the new generation learn?”

Pahlaj Nihalani

On pornstar-turned-actress Sunny Leone, as quoted in " I don't mind being called conservative: Pahlaj Nihalani http://www.thehindu.com/news/national/pahlaj-nihalani-censor-board-chief-interview/article6823559.ece" The Hindu (26 January 2015)

Money, People, School, Learning

“He is the greatest artist who has embodied, in the sum of his works, the greatest number of the greatest ideas.”

John Ruskin book Modern Painters

Volume I, part I, chapter II, section 9 (1843).
Modern Painters (1843-1860)

Idea

“This is not some special law or guideline for artists and writers. It is a general principle for all citizens. It is a fundamental principle of the revolution. Counterrevolutionaries, that is, the enemies of the revolution, have no rights against the revolution, because the revolution has one right: the right to exist, the right to develop, and the right to be victorious.”

Fidel Castro (1926–2016) former First Secretary of the Communist Party and President of Cuba

Words to Intellectuals (1961)

Law, Victory

“Limitations force you to find the essence of what you want to say, which is one of the most important things to know for an artist.”

Julie Taymor (1952) American film and theatre director

As quoted in "Oh, girl : A Talk with Julie Taymor" at Subtitles to Cinema (2 September 2008)

“The old-fashioned idea that the simple piling up of experiences, one on top of another, can make you an artist, is, of course, so much rubbish. If acting were just a matter of experience, then any busy harlot could make Garbo’s Camille pale.”

Helen Hayes (1900–1993) actress

Source: On Reflection (1968), Ch. 6

Idea, Fashion, Business

“There is always an unconscious collaboration among artists.... the artist who imagine himself a Robinson Crusoe is either a primitive or a fool.”

William Baziotes (1912–1963) American painter

from Baziote's text for a symposium in 1954; as quoted in William Baziotes – paintings and drawings, ed. Michael Preble, Peggy Guggenheim Collection, Venice, 2004, p. 18
1950s

Fools, Imagination

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

World, Art, Problem, Thinking

“Actors are a troupe that makes a living pretending to be something they're not. Professional poseurs, if you like. Granted, they're not parasites, like the politicians with whom they cavort. But Tinseltown is a left-liberal ideological collective. They march in thematic unison. That their cultural products have become artistically worthless could well be because activism has replaced acting, and sermons have supplanted stories and good scripts. Hollywood is a pretty, pea-brained community.”

Ilana Mercer South African writer

"Thanks, POTUS, For Breaking-Up The Annual Correspondents’ Circle Jerk." http://dailycaller.com/2017/05/08/thanks-potus-for-breaking-up-the-annual-correspondents-circle-jerk/ The Daily Caller, May 8, 2017 <br class="br">2010s, 2017

Communication

“This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

In the introduction, (written in 1951) of his not published book: "Line Form and Color"; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 22
1950 - 1968

Books, Art, Painting

“I think it is considered bad to be clever, because I think people usually assume that a clever person or a clever band doesn't have substance, doesn't really care about anything. People want music that matters, that believes in something, I think, whether it expresses anger or despair or love. People want to believe that their artists are portraying emotions that they really feel. And I think that's true of Patsy Cline, Johnny Rotten, whoever you want to name. If you believe the artist, you're going to go for it.”

John S. Hall (1960) Poet, author, singer, lawyer

Quotes from interviews

Love, People, Music, Feeling

“Worpswede, I cannot get you out of my mind. There was such atmosphere there – right down to the tips of your toes. Your magnificent pine trees! I call them my men – thick, gnarled, powerful, and tall – and yet with the most delicate nerves and fibers in them. That is my image of the ideal artist. And your birch trees – delicate, slender young virgins who delight the eyes. With that relaxed and dreamy face, as if life had not really begun for them… But then there are some already masculine and bold, with strong and straight trunks. Those are my 'Modern women'. And you willows, with your knotty trunks… You are my old men with silver beards. I have company enough, indeed I do, and it's my own private company. We understand each other well and nod friendly answers back and forth. Life, life, life!”

Paula Modersohn-Becker (1876–1907) German artist

a quote of her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192
1897

Life, Women, Men, Understanding

““To imitate Socrates” meant, in other words, to staunchly refuse imitation; refuse imitation of the person “Socrates”—or any other person, however worthy. The model of life Socrates selected, painstakingly composed and laboriously cultivated for himself might have perfectly suited his kind of person, but it would not necessarily suit all those who made a point of living as Socrates did. A slavish imitation of the specific mode of life that Socrates constructed on his own, and to which he remained unhesitatingly, steadfastly loyal throughout, would amount to a betrayal of his legacy, to the rejection of his message—a message calling people first and foremost to listen to their own reason, and calling thereby for individual autonomy and responsibility. Such an imitation could suit a copier or a scanner, but it will never result in an original artistic creation, which (as Socrates suggested) human life should strive to become.”

Zygmunt Bauman (1925–2017) Polish philosopher and sociologist

Source: The Art of Life (2008), p. 79.

Life, People, Betrayal, Personality

“Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).

Art, Question, Nature, Painting

“Women have been discouraged from genres such as sculpture that require studio training or expensive materials. But in philosophy, mathematics, and poetry, the only materials are pen and paper. Male conspiracy cannot explain all female failures. I am convinced that, even without restrictions, there still would have been no female Pascal, Milton, or Kant. Genius is not checked by social obstacles: it will overcome. Men's egotism, so disgusting in the talentless, is the source of their greatness as a sex. […] Even now, with all vocations open, I marvel at the rarity of the woman driven by artistic or intellectual obsession, that self-mutilating derangement of social relationship which, in its alternate forms of crime and ideation, is the disgrace and glory of the human species.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 653

Women, Men, Sex, Mathematics

“Movies make hash of the schoolmarm’s approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist’s intentions" you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

Money, Way

“Science looks and observes and art see and foresees. Every great scientist has experienced a moment when the artist in him saved the scientist.”

Naum Gabo (1890–1977) Russian sculptor

Naum Gabo (1937) "Editorial", p. 9
1936 - 1977, Circle: International Survey of Constructive Art, 1937

Art, Science

“[On modern art] True psychos stand alone. The only pioneers are those who give voices to the ugliest corridors of their unconscious without fear of censure from any quarter. The acts that ordinary of people commit behind closed doors are beyond the ken of any performance artist. Humans' innate weirdness is far more threating and entertaining than anything the professional shock mavens could conjure. I boggle your conception of a world split between cognoscenti and squares. I subvert the subversive and bury the underground under six feet of its own hypocritical manure. I perform unsolicited tattooing, body-piercing, and ritual scarification upon you. Give vent to your sickest fantasies, but don't call it art. Cornhole Barbara Bush, but only if you want to. Sketch your astrological chart with your own feces, but only if it feels good. If you want to do something truly radical, kill yourself. We'll have one less reader, but the world will be a better place.”

Jim Goad (1961) Author, publisher

ANSWER Me!

People, World, Fear, Art

“Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. … A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.”

John Berger (1926–2017) British painter, writer and art critic

Source: Selected Essays of John Berger (2014), P. 18

People, Pleasure, World, Art

“I make installations and the final result is a video projection and the photograph. If I didn’t make video projections, then call me one thing; if I didn’t make photos, then call me another. I’m in between an installation artist, video artist and photographer. And when you work with nude bodies, you’re immediately called a pornographer or a fashion photographer.”

Spencer Tunick (1967) American photographer

Spencer Tunick in: "Interview Spencer Tunick," at coolcleveland.com, 2004.

Photo, Fashion

“I have retained a belief that it is the popular sporty kids at school who grow up to have the least interesting lives, and the unhappy young souls who develop into the most extraordinary adults. Whoever heard of a creative genius being understood as a child and well loved by his class mates? Who like to imagine an artist who emerged into adulthood content with his lot? And, conversely, how satisfying to hear that almost without exception, the untroubled, popular kids at school have ended up blandly as accountants, solicitors or ‘in IT’. Hold on, misfits, your day will come.”

Derren Brown (1971) British illusionist

Books, Confessions of a Conjuror (2010)

Love, School, Soul, Imagination

“The artist who parades his drawing, the writer who calls attention to his style, is like the farmer who devotes his energies to polishing farm implements and never uses them.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Drawing

“The artist and the poet have the facility for mistaking pure languor for meditative peace and strength. True meditation "rests" in swiftness.”

Vilhelm Ekelund (1880–1949) Swedish poet

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

Peace

“Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings... You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today.”

Alfred Stieglitz (1864–1946) American photographer

'Is Photography a Failure?', Alfred Stieglitz, 'Sun: 5.', March 14, 1922; as quoted on Wikipedia

Art, Music, Feeling, Literature

“Until the end of the fascist era and of the war [World War 2. ], I continued to hark back to the sober realism [in his human figure sculptures, then] of the artists of the Etruscan funerary figures, or the sculptors of some Roman portraits, especially the earlier ones. My own way of reacting against the imperialist pathos of official Fascist art continued, until 1944, to consist in identifying my art very consciously with my private life, so that I never allowed myself any form of expression that might seem too blatantly public.”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 87

Life, War, World, Art

“The assignment must fit the kid. That's the beauty of it, Obie." Obie waited a minute or two and couldn't resist asking, "You running out of ideas, Archie?" The great Archie Costello running dry? The possibility was staggering to contemplate. "Just being artistic, Obie. It's an art, you know. Take a kid like this Renault. Special circumstances.”

Robert Cormier book The Chocolate War

He fell silent. "Put him down for the chocolates."
Source: The Chocolate War (1974), p. 15

Beauty, Art, Idea, Waiting

“By nature I am a skeptic. I don't dare to think my paintings are great. I can't understand the arrogance of someone saying, 'I have created a big, important work.' I want to reject this pathetic behavior, this notion of the heroic artist. Pollock, Barnett Newman, Franz Kline, their heroism derived from the climate of their time, but we do not have this climate… On the other hand, you do need feelings like they had to some extent. So I am afraid there must be a side of me close to those feelings. Those absurd feelings.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Behavior, Feeling, Understanding, Nature

“They are more complex to begin with, but their organization, the way they end up being put together, isn't that different. You can't shake your own sensibility. No matter what the concept is; the artist's eye decides when it's right.... which is a notion of sensibility.”

Frank Stella (1936) American artist

Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

Way

“You don't know old Charles as I know him. He's got into a queer set, and there's no knowing what mischief he's up to. He's perfectly capable of starting a revolution in Armenia or somewhere merely to see how it feels like to be a revolutionary. That's the damned thing about the artistic temperament.”

John Buchan book The Power-House

Source: The Power-House (1916), Ch. 1 "Beginning of the Wild-Goose Chase"

Feeling

“Analogy pervades all our thinking, our everyday speech and our trivial conclusions as well as artistic ways of expression and the highest scientific achievements.”

George Pólya book How to Solve It

Source: How to Solve It (1945), p. 37

Way, Thinking

“The work of art has its origin in an unconscious impulse that springs from collective substrata of universal values common to all men, from which all men draw their gestures, and from which the artist derives the 'archaic' of organic existence. Every man of his own accord extracts the human element from this base, without realizing it, and in an elementary and immediate way.”

Piero Manzoni (1933–1963) Italian artist

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

Men, Art, Way, Spring

“Sometimes people associate getting big with selling out, which is funny because that's not something you necessarily have choice in. That's not a matter that is entirely up to you and at the same time, who hasn't sold out? If you've heard of a specific artist, they're big enough--they got to you. Where do you draw the line between what's big and what's too big?”

Patrick Stump (1984) American musician

AbsolutePunk.net, Patrick Stump, Part 1 - 10.06.08

People, Time, Drawing

“I feel sometimes an American artist must feel, like a baseball player or something - a member of a team writing American history..”

Willem de Kooning (1904–1997) Dutch painter

Willem de Kooning (1969) by Thomas B. Hess, Content Is A Glimpse, excerpts from an interview with David Sylvester, (BBC), Location, vol.1 no.1 Spring 1963.
1960's

Feeling, History

“An artist must possess consummate technique in order to make us forget it.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Forgetting

“You go through different arcs in your career. I think when I was younger, I was very into the performing side of the industry. I came to acting through that way, and then having gone to university and studied cinema studies and watching tons of films and understanding film theory and making a conscious choice of working with auteur director marks a new chapter in my development as an artist.”

Sarah Gadon (1987) Canadian actress

Way, Understanding, Thinking, Study

“The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life.”

Wassily Kandinsky (1866–1944) Russian painter

VIII. Art and Artists
1910 - 1915, Concerning the Spiritual in Art, 1911

Life, Secret, Art, Way

“The moral spectacle of capitalism still offends, as does American capitalism's implacable insistence that the market determine value even in the political, intellectual, and artistic spheres.”

William Pfaff (1928–2015) American journalist

Source: Barbarian Sentiments - How The American Century Ends (1989), Chapter 2, The Challenge of Europe, p. 31

“Is there any more mysterious idea for an artist than the conception of how nature is mirrored in the eyes of an animal? How does a horse see the world, or an eagle, or a doe, or a dog?”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World, Dogs, Idea, Nature

“Simple, I don't like the word simple. I like easy better. I want to forget about the technique. I sweat and worry but I don't want it look like that; but you can’t separate the artist and his technique.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

In an interview by Henry Geldzahler, 'Art International 1.', February 1964, p. 48
1950 - 1968

Forgetting

“The animating purpose of James was, on the other hand, primarily moral and artistic. It is expressed in his phrase, "block universe," employed as a term of adverse criticism. Mechanism and idealism were abhorrent to him because they both hold to a closed universe in which there is no room for novelty and adventure. Both sacrifice individuality and all the values, moral and aesthetic, which hang upon individuality; for according to absolute idealism, as to mechanistic materialism, the individual is simply a part determined by the whole of which he is a part. Only a philosophy of pluralism, of genuine indetermination, and of change which is real and intrinsic gives significance to individuality. It alone justifies struggle in creative activity and gives opportunity for the emergence of the genuinely new.”

John Dewey (1859–1952) American philosopher, psychologist, and educational reformer

Time and Individuality (1940)

Universe, Change, Animals, Parting

“No, I don’t think it’s correct to define my writing as fables. There are themes, yes, but I’m not trying to offer some categorical cure-it-all to the problematic situation of Man. I’m neither theologian nor a politician. My concern in my first novel, The Zoo, was loss of inner life. After long years of writer’s block, the novel just exploded out of me. Thirty days. All too quickly to really do it justice. With my second novel, The Nihilesthete, I was taken by the spiritual diminishment and the all-pervasive powerlessness that I felt was taking over our culture which in turn prevented and inverted my lead character’s full expression. Such is the motive-force behind almost banal, cerebralized cruelties he harbours upon his arch-enemy, the artist, Brodski.”

Richard Kalich novelist

Richard Kalich in conversation with Lucy Sweeney Byrne - Books Go Social http://booksgosocial.com/2015/01/13/richard-kalich-in-conversation-with-lucy-sweeney-byrne/ January 13, 2015.

Life, Justice, Motivation, Thinking

“I get that a lot because I've hung around with a lot of artists and I'm very close to a lot of them. I'm very involved in their work; I think a lot of my ideas have grown out of it, and that there's been some give and take.”

Frank Gehry (1929) Canadian-American (b.1929)

Source: Jeremy Gilbert-Rolfe, Frank Gehry, The City and Music (2002)

Idea, Thinking

“If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; just a little dose of bird-shot now and then as a warning.”

Edgar Degas (1834–1917) French artist

"Some of Degas' Views on Art" (p. 56)
Degas hated to paint outdoor and even to see landscape-paintings, like for instance the 'draughty' ones of Monet
posthumous quotes, Degas: An Intimate Portrait' (1927)

Nature, Bird, Painting

“The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision.”

Henri Matisse (1869–1954) French artist

critical quote on Cubism
In a short text of Matisse, 1918, written for the catalogue of 'Den Franske Utstilling', 1918, Copenhagen; as quoted in Matisse on Art, Jack Flam, University of California Press 1995 p. 272, note 2
1910 - 1920

Quotes, Confidence, Mathematics, Effort

“Today's Baudelaires are hip-hop artists.”

Jonathan Franzen (1959) novelist

Voices in the Wilderness The Guardian (Saturday 28 September 2002).

“If I weren't a Jew (in the sense in which I use the word) then I wouldn't be an artist, or at least not the one I am now.”

Marc Chagall (1887–1985) French artist and painter

Quote from Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922
1920's

Sense

“The young artists of to-day understand nothing; they copy to satiety the classic ornaments and designs, and reproduce them in so cold a manner that they lose all meaning. The ancients obtained their designs from nature. They found their models in the garden, even in the vegetable garden. They drew their inspiration from its source. The cabbage-leaf, the oak-leaf, the clover, the thistle, and the brier are the motives of the Gothic capital. It is not photographic truth, but living truth, that we must seek in art.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 125

Truth, Art, Motivation, Understanding

“Worpswede, Worpswede, Worpswede! [small rural village in North-Germany were a colony of German artists was working then, including Paula] My sunken Bell mood! Birches, birches, pine trees and old willows. Beautiful brown moors – exquisite brown! The canals with their black reflections, black as asphalt..”

Paula Modersohn-Becker (1876–1907) German artist

Quote from her Journal, Worpswede 1897; as cited in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 192
1897

Beauty, Mood, Tree

“An artist should combine her beautiful voice, her external form with her coquetry and mollycoddle and to stay away from temptation, in my opinion. There is a huge difference between femininity, coquetry, temptation and irritation.”

Layal Abboud (1982) Lebanese pop singer

2008

Beauty

“I think what Kazan is saying is that the Method isn't a thing. It's an action, a process, a skillful or effective way of achieving a specific artistic task. It's not a pair of shoes. It's discovering how to walk. I did an affective memory at the Actors Studio years ago, after which Lee Strasberg said, "Now that's an affective memory. Darling, tell them how you did it." When I explained my process, Strasberg replied, "That's not how you do an affective memory! But that's what the Method is all about. It's a way of work!" You find your own way of carrying out your own and your character's internal truth—within your body, mind, and soul.”

Sandra Seacat (1936) American acting teacher and actress

As quoted in "The Method and the Myth" http://www.backstage.com/advice-for-actors/acting-teachers/the-method-and-the-myth/ by Robert Walden, in Backstage (April 21, 2009)

Truth, Shoe, Way, Soul

“We are concerned with the artistic and social side of life, and have only to notice the coincidence that while the Virgin was miraculously using the power of spiritual love to elevate and purify the people, Eleanor and her daughters were using the power of earthly love to discipline and refine the Courts. Side by side with the crude realities about them, they insisted on teaching and enforcing an ideal that contradicted the realities, and had no value for them or for us except in the contradiction.

The ideals of Eleanor and her daughter Mary of Champagne were a form of religion, and if you care to see its evangels, you had best go directly to Dante and Petrarch.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love, Life, People, Religion

“The true, prescriptive artist strives after artistic truth; the lawless artist, following blind instinct, after an appearance of naturalness. The one leads to the highest peaks of art, the other to its lowest depths.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Propylaea (1798) Introduction

Truth, Art, Nature, Appearance

“For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there (and if one examines the recurrence of images in history this proposition is not quite as crazy as it sounds) or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 6: Blake

Art, History, Nature, Memory

“I agree with Rosenberg’s text that says anything is art as soon as it is put in a museum. And that is why artists are such appalling things, since they are responsible for this state of affairs in art.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66

Art

“Contact with like-minded painters, a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through... One depends on one's surroundings. And so the exchange with other artists – and especially the collaboration with Lueg and Polke – matters a lot to me.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 47

Idea, Dependency

“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Art, Music, Way, Time

“I have divided [the different sections of mankind] into three classes. The first, to which you and I have the honour to belong, marches under the banner of the progress of the human mind. It is composed of scientists, artists and all those who hold liberal ideas. On the banner of the second is written 'No innovation!' All proprietors who do not belong in the first category are part of the second. The third class, which rallies round the slogan of 'Equality' is made up of the rest of the people.”

Henri de Saint-Simon (1760–1825) French early socialist theorist

[J]e me propose en m'adressant à différentes fractions de l'humanité, que je divise en trois classes: la première, celle à laquelle vous et moi avons l'honneur d'appartenir, marche sous l'étendard des progrès de l'esprit humain; elle marche sous l'étendard des progrès de l'esprit humain; elle est composée des savants, des artistes et de tous les hommes qui ont des idées libérales. Sur la bannière de la seconde il est écrit: point d'innovation; tous les propriétaires qui n'entrent point dans la première sont attachés à la seconde. La troisième, qui se rallie au mot égalité, renferme le surplus de l'humanité.
Oeuvres choisies: précédées d'un essai sur sa doctrine (1839), p. 15

People, Idea, Parting

“The experience or the vision is the artist’s counterpart to the scientific discovery of a principle or law. What the scientist does when he discovers a new law is to give a new ordering to observed facts. The artist is engaged in a similar task. He gives new meaning to our experience and organizes it in a different way due to his perception of subtler qualities in reality.”

Sarvepalli Radhakrishnan (1888–1975) Indian philosopher and statesman who was the first Vice President and the second President of India

Internet Encyclopedia of Philosophy

Law, Way, Reality

“It is apparently very congenial for some people who are professionally concerned with fictional texts to be told that all texts are really fictional anyway, and that claims that fiction differs significantly from science and philosophy can be deconstructed as a logocentric prejudice, and it seems positively exhilarating to be told that what we call "reality" is just more textuality. Furthermore, the lives of such people are made much easier than they had previously supposed, because now they don't have to worry about an author's intentions, about precisely what a text means, or about distinctions within a text between the metaphorical and the literal, or about the distinction between texts and the world because everything is just a free play of signifiers. The upper limit, and I believe the reductio ad absurdum, of this "sense of mastery" conveyed by deconstruction, is in Geoffrey Hartman's claim that the prime creative task has now passed from the literary artist to the critic.”

John Rogers Searle (1932) American philosopher

"The Word Turned Upside Down", The New York Review of Books, Volume 30, Number 16, October 27, 1983.

People, World, Reality, Sense

“The man who reacts to the universe with a cry of impotent anguish is acceptable as an artist only if he can persuade us that he has sanely considered the other possible reactions and found them inadequate.”

Kenneth Tynan (1927–1980) English theatre critic and writer

"Anatomy of the Absurd" (1962), p. 104
Tynan Right and Left (1967)

Universe, Cry

“Those Fear and Loathing drawings were only possible for me because of the America's Cup six months earlier, which injected the the drawings with the eerie sense of being there to record the sensations. It was a regurgitation, a psycho-artistic vomit - a creative, cathartic cleansing of my inner being.”

Ralph Steadman book The Joke's Over

The America's Cup, p. 63
The Joke's Over (2006)

Fear, Sense, Drawing

“I'm not really a collage artist like Quentin Tarantino or Wes Anderson. I'm not like those other guys, Spike Jonze, too, guys who watch things and take notes. I'm trapped in my own stubborn world over-and-over, looking for a similar insight, a similar aesthetic, a similar point of view.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

Film Freak Central Interview

World, Guy

“The literary critic, or the critic of any other specific form of artistic expression, may detach himself from the world for as long as the work of art he is contemplating appears to do the same.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Introduction'
Essays and reviews, Glued to the Box (1983)

World, Art, Appearance

“Life and mind are continuously in conflict with each other. I want happiness, security. I won’t reach that by considerations of my mind; on the contrary they will lead to a certain despair of the inner person. Not what he thinks engages the artist, but what he feels.”

Bram van Velde (1895–1981) Dutch painter

Letter to H.P. Bremmer, 17-11-1930, City Archive The Hague, as quoted in Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994 (English translation: Charlotte Burgmans)
1930's

Life, Happiness, Feeling, Thinking