Quotes about artist (2524 quotes, page 11)

“It’s never been such a good time to be a crook. In what other country of laws does one enjoy so much freedom to defraud one’s government and fellow citizens without having to worry about cops showing at the door? Small-time crooks sooner or later end up in the slammer, but our big-time con artists, as we’ve come to learn, are now regarded as the untouchables, too well-heeled and powerful to lock up.”

Charles Simic (1938) American poet

"A Thieves' Thanksgiving," http://www.nybooks.com/blogs/nyrblog/2014/nov/26/thieves-thanksgiving/?utm_medium=email&utm_campaign=NYR+Goya+Ferrante+crooks&utm_content=NYR+Goya+Ferrante+crooks+CID_8376c474295b4e263a32522d2bbfd922&utm_source=Email%20marketing%20software&utm_term=A%20Thieves%20Thanksgiving New York Review of Books, November 26, 2014

Law , Freedom , Learning , Time

“The artists of our culture, 'the antennae of the race,' had tuned in to the new ground and begun exploring discontinuity and simultaneity.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 47

“He [Tolstoy] could see little good in the clergy, while he utterly condemned the military, the rulers of the earth, the judges, the capitalists, the landlords, the merchants, the jailers, the functionaries. He assailed modern art and classed artists with scientists and ministers as the lackeys of a degenerate and parasitic class of wealthy men. Political economists he considered as retainers of the same class and their product as the throwing of dust in the eyes of those who seek for a way out of our unhappy social conditions.”

Robert Hunter (author) (1874–1942) American sociologist, author, golf course architect

Source: Why We Fail as Christians (1919), p. 77

Men , Art , Way

“These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Art , Communication

“It is in front of the paper that the artist creates himself.”

Stéphane Mallarmé (1842–1898) French Symbolist poet

Letter to Eugène Lefébure (February 1865), published in Selected Letters of Stéphane Mallarmé (1988), p. 48.
Observations

“Entrepreneurs are artists and I mean “artists” in the true sense of the word: they see something no one else does.”

Steve Blank (1953) American businessman

Steve Blank in interview with Jake Cook, "Steve Blank: Lessons From 35 Years of Making Startups Fail Less" http://99u.com/articles/7256/steve-blank-lessons-from-35-years-of-making-startups-fail-less, U99 website, 2013.

Sense

“Italo Calvino said the artist reveals that bit of truth hidden at the bottom of every lie. Art is all about the art of lying. The artist’s imperative is to create a supreme fiction, a lie that, paradoxically, discloses a truth. It's precisely this kind of paradox that Calvino and Fellini adored.”

Damian Pettigrew Canadian filmmaker

On truth and lies, in O Estado de São Paolo (November, 2003)

Truth , Lie , Art , Lying

“As we all know, the singularity in the art of Bach is the fusion of both levels and lines, the horizontal and vertical line. It’s a real wonder to see that the creation and forming of the horizontal line, the polyphonic structure, also results in this perfect, beautiful vertical line, the harmonic line. As we also know, Bach already used the full harmonic range and radius as no composer before him. My artistic aim of course is to point out the horizontal line in soloistic manner in a dynamically elastic way, but in the same breath to form the harmonic line in a bright field of color (I would call it “harmonic articulation”), to achieve a particular atmosphere of emotions and moods, drama, velocity, vividness, and so on. As we can imagine, these are high demands …”

Burkard Schliessmann classical pianist

Talkings on Bach

Beauty , Art , Color , Way

“The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions,- that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

Feeling , Sleep , Passion

“All means are sacred when they are dictated by inner necessity. All means are reprehensible when they do not spring from the fountain of inner necessity… The artist must be blind to 'recognized' and 'unrecognized' form, deaf to the teachings and desires of his time. His open eyes must be directed to his inner life and his ears must be constantly attuned to the voice of inner necessity.”

Wassily Kandinsky (1866–1944) Russian painter

Quoted in: Sunil Goonasekera (1991) George Keyt, Interpretations. p. 146
Talking about the means in painting
1910 - 1915, Concerning the Spiritual in Art, 1911

Life , Spring , Time

“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

Art , Personality

“Being an artist is more of a mindset, a way of seeing things; it is no longer so much about producing something.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Ai Weiwei, Nursing Head Wound, Sharpens Criticism, 2009

Way

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 59-60

Life , Fate , Pleasure , Truth

“The music of Marian Anderson and other African-American artists has greatly enriched our quality of life and created one of our Nation's most treasured art forms. As universal and original expressions of the human experience, their body of work, both past and present, entertains, inspires, and thrills countless people around the world.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

Life , People , World , Art

“Often we were joined by Maurice Princet. Although very young, he held an important post in an insurance company which he owed to his knowledge of mathematics. But outside his profession it was as an artist that he thought of mathematics, as a specialist in aesthetics that he evoked continuities in n dimensions. He liked to interest painters in the new visions of space that had been opened up by Victor Schlegel and several others. He succeeded. After having heard him by chance, Henri Matisse was caught reading an essay on hyperspace. Oh! it was only a potboiler [un ouvrage de vulgarisation]! but at least that shows that for the great 'fauve' the days of the painter who knows nothing, who runs towards a pretty subject with his beard blowing in the wind, was passed.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Mathematics , Knowledge , Chance , Reading

“To our western eyes, the painted images are the most prominent component of a corpus of artistic expression. This Western bias, a particularly Eurocentric bias, has been pervasive and deep. …it has resulted in a lack of attention to, and concern about, prehistoric art of equal and sometimes greater antiquity in eastern and southern Africa.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Art , Painting

“Artists encounter the landscape they propose to paint — they look at it, observe it from this angle and that. They are, as we say, absorbed in it. Or, in the case of abstract painters, the encounter may be with an idea, an inner vision, that in turn may be led off by the brilliant colors on the palette or the inviting rough whiteness of the canvas.”

Rollo May (1909–1994) US psychiatrist

Ch 2 : The Nature of Creativity, p. 41
The Courage to Create (1975)

Color , Idea , Painting

“What to leave out is the first thing the artist has to decide; a painter who “held the mirror up to nature” would spend his life on the leaves of one landscape. The work of art’s fluctuating and idiosyncratic threshold of attention—the great things disregarded, the small things seized and dwelt on—is as much of a signature as anything in it.”

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

“The Profession of Poetry”, p. 162
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life , Art , Nature

“The artist is not the transcriber of the world, he is its rival.”

André Malraux (1901–1976) French novelist, art theorist and politician

L'Intemporel

World

“Sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.”

Albrecht Dürer (1471–1528) German painter, printmaker, mathematician, and theorist

The Art of Measurement (1525).

Art , Error , Knowledge

“Taking the chance of making a complete fool of himself — and, sometimes, doing so — is the first demand that is made upon any real critic: he must stick his neck out just as the artist does, if he is to be of any real use to art.”

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

“The Age of Criticism”, p. 79
Poetry and the Age (1953)

Fools , Art , Chance

“Billy Bennett – I speak of the artist – was forthright, bawdy, and wholesome…[His] grossness had that gusto about it which is like a high wind blowing over a noisome place.”

Billy Bennett (1887–1942) British comedian

James Agate Immoment Toys (New York, [1945] 1969) p. 225.
Criticism

“When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned…but that's the point.”

Ralph Bakshi (1938) Animator, filmmaker

[c. 17 September 2004, http://www.wild-things.com/bray/documents/ralphb.doc, Questions for Ralph Bakshi, DOC, Ralph Bakshi Forum, 2007-11-27]

Love , World , Fashion , Understanding

“England, with her climate of more than vernal freshness, and in whose summer skies, and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect.... to one brief moment caught [by the artist] from fleeting time..”

John Constable (1776–1837) English Romantic painter

Quote from Constable's Introduction of the 1833 edition of English landscape scenery, as cited in Constable's English Landscape Scenery, Andrew Wilton, British Museum Prints and Drawings Series, 1979; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
Constable expressed - in his Introduction to the 1833 edition of English landscape scenery - similar sentiments as contemporary landscape-painter Turner, according to Andrew Wilton
1830s

Autumn , Nature , Time , Summer

“For there exists a great chasm between those, on one side, who relate everything to a single central vision, one system, less or more coherent or articulate, in terms of which they understand, think and feel - a single, universal, organising principle in terms of which alone all that they are and say has significance - and, on the other side, those who pursue many ends, often unrelated and even contradictory, connected, if at all, only in de facto way for some psychological or physiological cause, related to no moral or aesthetic principle. This last lead lives, perform acts and entertain ideas that are centrifugal rather than centripetal; their thought is scattered or difused, moving on many levels, seizing upon the essence of a vast variety of experiences and objects; for they are themselves, consciously or unconsciously seeking to fit them into or exclude them from any one unchanging, all-embracing, sometimes self-contradictory and incomplete at times fanatical, military inner vision. The first kind of intellectual and artistic personality belongs to the hedgehogs, the second to the foxes.”

Isaiah Berlin book The Hedgehog and the Fox

The Hedgehog and the Fox (1953). Editor Henry Hardy. Collaborator Michael Ignatieff. Editorial Princeton University Press, 2013. ISBN 1400846633, p. 2.

Way , Feeling , Idea , Understanding

“Always the artist, never the superstar.”

V. V. S. Laxman (1974) former Indian cricketer

Harsha Bhogle on VVS battin talent. http://www.scrolldroll.com/quotes-about-vvs-laxman-that-show-he-is-truly-very-very-special/

“In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

Health , Error , Idea

“Every time I write about the impossibility of effectively protecting digital files on a general-purpose computer, I get responses from people decrying the death of copyright. "How will authors and artists get paid for their work?" they ask me. Truth be told, I don't know. I feel rather like the physicist who just explained relativity to a group of would-be interstellar travelers, only to be asked: "How do you expect us to get to the stars, then?"”

Bruce Schneier (1963) American computer scientist

I'm sorry, but I don't know that, either.
Protecting Copyright in the Digital World, Schneier, Bruce, 2001-08-15, Cryptogram newsletter, 2016-05-02 https://www.schneier.com/crypto-gram/archives/2001/0815.html#7,
Digital Rights Management

Death , People , Truth , Travel

“Those who present directly and immediately the new forms and symbols are the artists — the dramatists, the musicians, the painters, the dancers, the poets, and those poets of the religious sphere we call saints. They portray the new symbols in the form of images — poetic, aural, plastic, or dramatic, as the case may be. They live out their imaginations.”

Rollo May (1909–1994) US psychiatrist

Source: The Courage to Create (1975), Ch. 1 : The Courage to Create, p. 22

Imagination

“I always suspect an artist who is successful before he is dead.”

Edgar Degas (1834–1917) French artist

John Murray Gibbon, Pagan Love (1922), ch. xiv
Misattributed

Success , Dead

“Van Gogh is congenial to me, 'Vincent' in his letters. Perhaps nature does have something. There is no need, after all, to speak of the smell of earth; it has too peculiar a savor. The words we use to speak about it, I mean, have too peculair a savor. Too bad that the early Van Gogh was so fine a human being, but not so good as a painter, and that the later, wonderful artist is such a marked man. A mean should be found between these four points pf comparison: then, yes!”

Paul Klee (1879–1940) German Swiss painter

Quote (1908), # 808, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910

Nature

“It is true that Donatello, who afterwards did the ornamentation of the other organ opposite this one, displayed much more judgment and skill than Luca, as will be said in the proper place, because he did almost the whole of the work in the rough as it were, not delicately finishing it, so that it should appear much better at a distance than Luca's; as it does, for with all his care and skill the eye cannot appreciate it well because of the very polish and finish, which are lost in the distance, as it can the almost purely rough hewn work of Donato. To this matter artists should devote much attention, because experience shows that all things seen at a distance, whether they be paintings or sculptures or any other like thing, are bolder and more vigorous in appearance if skilfully hewn in the rough than if they are carefully finished. Besides the effect obtained by distance, it often happens that these rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes sap the vitality and powers of those who never know when to leave off.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Volume 2. p. 28
The Lives of the Painters, Sculptors, and Architects, 1900

Idea , Effort , Appearance , Painting

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

Art , Confidence , Question , Problem

“But I have seen my obstacles: trivialities, learning and poetry. This last needs explaining: the old artist's readiness to dissolve characters into a haze. Characters cannot come alive and fight and guide the world unless the novelist wants them to remain characters.”

E.M. Forster (1879–1970) English novelist

Source: Commonplace Book (1985), p. 151

World , Learning , Fight

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris.
1949 - 1958, Various sources

Love , Art , Color , Painting

“There is a saying by Gustave Dore which I have always admired: "J'ai la patience d'un boeuf." [I have the patience of an ox]. I find in it a certain goodness, a certain resolute honesty, more, it has a deep meaning that saying, it is the word of a real artist. When one thinks of the men from whose heart such a saying sprang, all the arguments one too often hears of art dealers about "natural gifts", seem to become a terrible raven's croaking.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Drenthe, The Netherlands, Autumn 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 336) p. 34
1880s, 1883

Men , Art , Nature , Thinking

“Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.”

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

Time and Individuality (1940)

Art , Learning , Appearance , Time

“For me Greece is Maria Farantouri. This is how I imagined Goddess Hera to be: strong, pure and vigilant. I have never encountered any other artist able to give me such a strong sense of the divine.”

François Mitterrand (1916–1996) 21st President of the French Republic

L’Abeille et l’architecte [The Bee and the Architect] (1980)

Imagination , Sense , Strong

“Kandinsky was connected with Die Brücke and the Blue Rider: they had a concept and created a reality. But I prefer Jean Fautrier [French painter-artist; 1898 - 1965] with his suffering and self-absorption. And his purpose on bringing about changes was just as strong. As a result I see in Fautrier a stronger paradigm than in Kandinsky..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

Reality , Strong , Suffering , Change

“The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us.”

William Baziotes (1912–1963) American painter

his remark in 1957
as cited in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 34
1950s

Feeling , Memory

“I don't believe in censorship, but I do believe that an artist has to take some moral responsibility for what he or she is putting out there. And I think a lot of these young kids are going to have to learn the hard way before they realize that you can actually do some damage if you're being careless or frivolous in what you're saying.”

Tom Petty (1950–2017) American musician

Rolling Stone interview (2002)

Way , Thinking , Learning

“The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview.”

Arshile Gorky (1904–1948) Armenian-American painter

quote in Abstract Expressionism, Barbara Hess, Taschen, 2005, p. 10
posthumous

Dreams , Art , Communication

“Old clothes do not make a tortured artist.”

Kevin Rowland (1953) English singer-songwriter

liner notes to Searching For the Young Soul Rebels (1980)

Clothes

“They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 60-61

Truth , World , Hope , Art

“Nature is just a dictionary, you hunt in it for words.... you find in it the elements which make a phrase or a story; but nobody would regard a dictionary as a composition in the poetic sense of the term. Besides, nature is far from being always interesting from the point of view of the effect of the whole... If each detail is perfect in some way, the union of these details seldom gives an effect equivalent to that which arises, in the work of a great artist, from the total composition.”

Eugène Delacroix (1798–1863) French painter

Delacroix, quoted by Paul Signac: in D'Eugene Delacroix au Neo-impressionnisme, Chap. I.; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p.10 + note 15
Quotes, undated

Way , Nature , Sense , Perfection

“Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry.”

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

Source: The Romantic Rebellion (1973), Ch. 13: Degas

“An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth.
When a good sculptor models a torso, he not only represents the muscles, but the life which animates them — more than the life, the force that fashioned them and communicated to them, it may be, grace or strength, or amorous charm, or indomitable will.
In the works of Michael Angelo, the creative force seems to rumble; in those of Luca della Robbia it smiles divinely. So each sculptor, following his temperament, lends to nature a soul either terrible or gentle.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. Mystery in Art, p. 178

Life , Truth , Smile , Soul

“Tolstoy … believed that property claims were based on robbery and maintained by violence. More radical than second-century radical Christians and than most monks, he turned even against the subdivision of labor in economic society. It seemed to him to be the means by which privileged persons such as artists, intellectuals, and their kind, absorbed the labor of others, justifying themselves by the belief that they were beings of a higher order than workingmen, or that their contribution to society was so great that it compensated for their claims.”

H. Richard Niebuhr (1894–1962) American theologian

Source: Christ and Culture (1951), p. 62

Personality

“For many years, and like many British people, I had little feeling for the most expressive and roughest form of early twentieth century European painting, the expressionism of German artists around the First World War like Kirchner.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

War , People , World , Feeling

“Roy Ascott was among the first artists to launch an appeal for total spectator participation: for him, the strict antinomy between action and contemplation needed to be abolished.”

Frank Popper (1918) French art historian

Frank Popper (2007). From Technological to Virtual Art.

“Here my idea is to declare that art is the only possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity. And therefore it's necessary at first that society cares about the educational system, that equality of opportunity for self-realization is guaranteed.”

Joseph Beuys (1921–1986) German visual artist

Source: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5

World , Education , Art , Idea

“There is a world of visual beauty open to the one willing to undergo the practice and striving necessary to the understanding of its language.
This world is a important as culturally as is the world of words or of music. My ideal is to form and to paint as Schubert sings his songs and as Beethoven creates his world in sounds. That is to say, creation of one’s own inner world through the same human and artistic discipline.
An inner sensation can find external expression only through spiritual realization.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 58
Search for the Real and Other Essays (1948)

World , Beauty , Music , Understanding

“I have applied for a pass and I am going to travel through Western Europe for 5 days. [I] start in Cologne and will probably end in Paris. Who cares. In Cologne there is a large exhibition of German painters [especially Die Brücke-artists]. Jan W. [= Jan Wiegers, who knew Kirchner very well since 1920] has been there and animated so much that I'm going there for a while.... it seems that Jan wants to come with me. He was so enthusiastic that I suspect to be able to note him as my traveling companion.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Ik heb een pas aangevraagd en ga West-Europa in 5 dagen afreizen. Begin in Keulen en eindig vermoedelijk in Parijs. Wie doet je wat. In Keulen is een groote tentoonstelling van Duitse schilders [met name van Die Brücke]. Jan W. [= nl:Jan Wiegers] is er geweest en animeerde zoodanig dat ik er even heen ga.. ..'t schijnt dat Jan met me mee wil. Hij was zo enthousiast dat ik vermoed hem als reisgezel te kunnen noteren.
Quote van Werkman, in his letter to Cor Spruit, 14 August, 1929; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 110
After this trip Werkman made a series of prints from the Paris' metro: 'D-67' and 'D-69'
1920's

Travel , Animals

“It is wrong to celebrate 100 years of cinema with just India. It is 100 years of cinema for Pakistan, Afghanistan, Sri Lanka. All these places saw Indian cinema as it was produced in Lahore, Mumbai, Chennai — it went all the way. It is 100 years of cinema of what used to be my India, my Pakistan, my Afghanistan and my Sri Lanka. That’s how an artist looks at it and it’ll soon be my world. It is the governments and political interests that create borders.”

Kamal Haasan (1954) Indian actor

About celebrating 100 years of Indian cinema.
Kamal Hassan: A universal legend

World , Way

“And I got some other producers I’m working with right now. I got YK 808, I got Deedotwill, I got other up-and-coming artists. I stay working with different people. I like overlapping and vibing with different producers, and that’s just how I’ve always been, man. Even when I was with Three 6 Mafia. I used to always just search for new talent and work with new talented people. I just think that’s what it is. I love making music. I don’t like to stay in the same place -- I’m not that type of person. But I still keep my roots. I still keep my sound.”

Juicy J (1975) American rapper and record producer from Tennessee; co-founder of Three 6 Mafia

Juicy J Interview Rubba band Business Wiz Khalifa Juicy J https://www.billboard.com/articles/columns/hip-hop/8070920/juicy-j-interview-rubba-band-business-wiz-khalifa

Love , People , Music , Search

“Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War , Age , World , Art

“An artist is a man of action, whether he creates a personality, invents an expedient, or finds the issue of a complicated situation.”

Joseph Conrad book The Mirror of the Sea

Source: The Mirror of the Sea (1906), Ch. 9

Personality

“In a movie, one can always pull back and condemn the character or the artist when they cross certain social boundaries. But in playing a game, we choose what happens to the characters. In the right circumstances, we can be encouraged to examine our own values by seeing how we behave within virtual space.”

Will Wright (1960) American video game designer and entrepreneur

Attributed

Game

“A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Cahiers du Cinema (1960)

Imagination , Idea

“Something was still there, that something that distinguishes an artist from a performer: the revealing of self. Here I be. Not for long, but here I be. In sensing her mortality, we sensed our own.”

Studs Terkel (1912–2008) American author, historian and broadcaster

On seeing a 1956 performance by Billie Holiday, Talking to Myself Bk. 4 (1973) Ch. 4

Sense

“.. a demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's text 'Towards elementary plastic expression', as cited in Material zur elementaren Gestaltung, G-1, July 1923; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 141
1920 – 1926

Art

“[Venice is] somewhat disguised by the artists who usually paint Venice, who have disfigured it by turning it into a city heated by the brightest and hottest sun. On the contrary, Venice, like all luminous cities, has a grey hue, the atmosphere is mild and misty and the sky arrays itself with clouds, just like the sky of our Norman and Dutch regions.”

Eugène Boudin (1824–1898) French painter

Quote of Boudin's letter, from Venice, 1895; to art-dealer Durand-Ruel; as cited in 'Venice, The Grand Canal' 1895, by Anne-Marie Bergeret-Gourbin https://www.museothyssen.org/en/collection/artists/boudin-eugene/venice-grand-canal, Museo Thyssen
1880s - 1890s

Sun , Painting

“Inferior as a mechanical printing method for ordinary photographic purposes, the gum process may for a time at least be regarded as standing apart for pictorial purposes, because the large amount of personal control which must be exercised before it can be said to show distinct advantages over other methods implies that the controlling hand must be guided by an artist that is, a man of such large instinctive artistic taste that one can hardly conceive that he would be able to produce a better result by painting, and without the use of photography at all, were he to devote the same skill and endeavour to the employment of brush or pencil, instead of photographic appliances.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 73

Exercises , Time , Painting , Personality

“But the cruellest thing you can do to an artist is tell them their work is flawless when it isn't.”

Ben Croshaw (1983) English video game journalist

23 March 2008
Fully Ramblomatic

“I regard the writing of humor as a supreme artistic challenge.”

Herman Wouk (1915–2019) Pulitzer Prize-winning American author whose novels include The Caine Mutiny, The Winds of War and War and …

Book-of-the-Month Club News (May 1985).

“Right up until today Pollock [her husband and famous painter; died Aug. 1956] well takes a lot of mine time…. and while you ask 'How much did it take out of me as a creative artist', I ask simultaneously, 'What did it give?' It is a two-way affair at all times. I would give anything to have someone giving me what I was able to give Pollock.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 79.

Way , Time

“What am I proud of, and what can I be proud of as an artist? Of the decision that separated and isolated me forever from everything ordinary.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Worauf bin ich stolz und darf ich stolz seyn als Künstler?Auf den Entschluss, der mich auf ewig von (29) allem Gemeinen absonderte und isolirte.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 136

Decision

“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Love , Art , Optimism , Reality

“The essence of our nature is to give birth, not to destroy. To create. We see this in the love of mother and child and in the love of artist for his or her art. The dilemma is that the very powers we possess for creativity can just as easily become employed to destroy with.”

Matthew Fox (priest) (1940) priest and theologian

Creativity (New York: Penguin, 2002), ch. one.

Love , Art , Birth , Nature

“Literary critics like Lionel Trilling … demand that our novels illuminate the manners and morals of prevailing society. Professor Trilling is right, because otherwise what use are they for us? But he is wrong-headed, because he does not see that the burden of proof is not on the artist but on our society. If such convenient criticism of prevalent life does not get to be written, it is likely that the prevailing society is not inspiring enough; its humanity is not great enough, it does not have enough future, to be worth the novelist’s trouble.”

Paul Goodman book Growing Up Absurd

Source: Growing Up Absurd (1956), p. 214.

Life , Future

“Since I’ve basically been giving my music away for free under the old system, I’m not afraid of wireless, MP3 files or any of the other threats to my copyrights. Anything that makes my music more available to more people is great. MP3 files sound cruddy, but a well-made album sounds great. And I don’t care what anyone says about digital recordings. At this point they are good for dance music, but try listening to a warm guitar tone on them. They suck for what I do. … I’m looking for people to help connect me to more fans, because I believe fans will leave a tip based on the enjoyment and service I provide. I’m not scared of them getting a preview. It really is going to be a global village where a billion people have access to one artist and a billion people can leave a tip if they want to. It’s a radical democratization. Every artist has access to every fan and every fan has access to every artist, and the people who direct fans to those artists. People that give advice and technical value are the people we need. People crowding the distribution pipe and trying to ignore fans and artists have no value. This is a perfect system.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

From "Courtney Love does the math", a speech given on the corruption of the music industry, from Salon.com http://www.salon.com/2000/06/14/love_7/ (14 June 2000)
1996–2005

People , Music , Help , Dance

“"Hey," he'd said, "it's me. Case."
The old eyes regarding him out of their dark webs of wrinkled flesh.
"Ah," Ratz had said, at last, "the artiste."
The bartender shrugged. "I came back."
The man shook his massive, stubbled head. "Night City is not a place one returns to, artiste," he said, swabbing the bar in front of Case with a filthy cloth, the pink manipulator whining.”

William Gibson book Neuromancer

Neuromancer (1984)

Clothes , Night

“I find it hard to believe that the machine would go into the creative artist’s hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.”

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

“Night Is but a Shadow Cast by the Sun”
The Living City (1958)

Religion , Art , Science

“At first I did not feel much inclined to agree [ Willem Maris had asked Mauve to paint together in open air, around the village Oosterbeek, c. 1863 ], but I did not like to refuse the little fellow flatly, so we went off together. My companion did not suffer from loquacity; and, coming to a field with cows in it, I sat down to go on with a drawing which I had begun that morning. The little chap strolled around a bit and then settled down to work himself. We sat there for hours under the pollards, until I grew curious to see what the little fellow was at. He sat sketching with a bit of chalk; but, oh! I stood astounded. I seized him by the hand and stammered in my turn, 'My boy, what an artist you are! You stagger me! It's magnificent!”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

Quote of Anton Mauve, c. 1863-65; as cited in Dutch Art in the Nineteenth Century – 'The Hague School; Introduction' https://en.wikisource.org/wiki/Dutch_Art_in_the_Nineteenth_Century/The_Hague_School:_Introduction, by G. Hermine Marius, transl. A. Teixera de Mattos; publish: The la More Press, London, 1908
1860's

Feeling , Boy , Suffering , Drawing

“The concern of the artist is with the discrepancy between physical fact and psychological effect.”

Josef Albers (1888–1976) German-American artist and educator

Quote from: 'Albers Paints a Picture' Elaine de Kooning, Art News 49, November 1950, p. 40; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 67

“New knowledge is only useful in so far as it opens up new vistas for the imagination, and no more so than the old forms which the artist must understand only in order to reject.”

Patrick Swift (1927–1983) British artist

Nano Reid (1950)

Imagination , Understanding , Knowledge

“My mother was a Chinese trapeze artist in pre-war Paris
Smuggling bombs for the underground.
And she met my father at a fete in Aix-en-Provence;
He was disguised as a Russian cadet in the employ of the Axis.”

Colin Meloy (1974) American musician

My Mother was a Chinese Trapeze Artist (5 Songs - 2001)
Lyrics

War

“And thus Christianity is played in “Christendom.” Artists in dramatic costumes make their appearance in artistic buildings— there really is no danger at all, anything but that: the teacher is a royal functionary, steadily promoted, making a career— and how he dramatically plays Christianity, in short, he plays comedy. He lectures about renunciation, but he himself is being steadily promoted; he teaches all that about despising worldly titles and rank, but he himself is making a career.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1850s, Attack upon Christendom (1855), p. 121

Teachers , Appearance

“The true artist has no style. Style is an exterior decorative element. The true artist as servant of his matter, transcends it with an absolute freedom.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

quote, 1984 - from ATV', 188; p. 49
Karel Appel, a gesture of colour' (1992/2009)

Freedom

“Without once compromising his artistic integrity, Fellini imagined a body of work -- as opposed to a suite of spin-offs, remakes, potboilers and so on -- where each production can be ranked as among the finest of experimental films ever to reach and influence an international public. There is a breathtaking scope to that achievement and great courage in the process: surmounting unbelievable resistance from producers, enemies of all kinds and jealous colleagues, career reversals, and poor health, Fellini held true to his own vision of cinema forged in the smithy of his soul.”

Damian Pettigrew Canadian filmmaker

On Fellini's artistic integrity, in Indiewire (April, 2003)

Health , Soul , Imagination , Courage

“There is, with any great artist, a little manic-ness and insanity.”

Frances Bean Cobain (1992) American artist

" Frances Bean Cobain on Life After Kurt's Death: An Exclusive Q&A http://www.rollingstone.com/music/features/frances-bean-life-after-kurt-cobain-death-exclusive-interview-20150408" (2015)

“What is a portrait good for, unless it shows just how the subject was seen by the painter? In the old days before photography came in a sitter had a perfect right to say to the artist: "Paint me just as I am." Now if he wishes absolute fidelity he can go to the photographer and get it.”

Aubrey Beardsley (1872–1898) English illustrator and author

As quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 189

Painting , Perfection

“Another theme of the Wake that helps in the understanding of the paradoxical shift from cliché to archetype is "pastimes are past times". The dominant technologies of one age become the games and pastimes of a later age. In the twentieth century the number of past times that are simultaneously available is so vast as to create cultural anarchy. When all the cultures of the world are simultaneously present, the work of the artist in the elucidation of form takes on new scope and new urgency. Most men are pushed into the artist role. The artist cannot dispense with the principle of doubleness and interplay since this kind of hendiadys-dialogue is essential to the very structure of consciousness, awareness, and autonomy.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, From Cliché to Archetype (1970), p.99

Men , Age , World , Game

“It's not that everything needs to have substance, but when nothing does then you know we’re living in a bankrupt society, an artistically bankrupt society, and that’s not okay. I think there’s room for forms of entertainment that are very light and frivolous and fun, but when those forms of entertainment, forms of "art" if you will, become presented as something more than that, and are believed to be something more than that, then we’ve got a lot of problems.”

Davey Havok (1975) American singer

Skinnie magazine, March 2010, p. 29

Art , Problem , Thinking , Light

“What I always longed to do was to be able to paint like I can draw, most artists would tell you that, they would all like to paint like they can draw.”

David Hockney (1937) British artist

From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981), p. 207
1980s

Drawing , Painting