Quotes about artist
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“For summer tourists to handle these intricate problems in a theological spirit would be altogether absurd; but for us these great theologians were also architects who undertook to build a Church Intellectual, corresponding bit by bit to the Church Administrative, both expressing — and expressed by — the Church Architectural. Alexander Hales, Albert the Great, Thomas Aquinas, Duns Scotus, and the rest, were artists.”

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

Mont Saint Michel and Chartres (1904)

Problem, Summer

“Friedan: I thought it was absolutely outrageous that the Silence of the Lambs won four Oscars. […] I'm not saying that the movie shouldn't have been shows. I'm not denying the movie was an artistic triumph, but it was about the evisceration, the skinning alive of women. That is what I find offensive. Not the Playboy centerfold.”

Betty Friedan (1921–2006) American activist

The Playboy Interview (1992)

Women, Silence

“Must an artist live in the world or out of it? I believe this to be an unanswerable question. Total retirement, natural to the Saint, is injurious to most artists. They work marvelously so long as there are materials at hand. Goethe has further advice: "Solitude is a wonderful thing when one is at peace with oneself and when there is a definite task to be accomplished."”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Working

World, Peace, Question, Nature

“The thing I hate the most about advertising is that it attracts all the bright, creative and ambitious young people, leaving us mainly with the slow and self-obsessed to become our artists.. Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

taken from Adbusters magazine
Other sources

Hate, People, Art, History

“Technical criticism in particular is the despair of the artist. No one but an idiot would offer a poet his comments in terms of spondees and trochees; why must the painter daily suffer the indignity? Any picture which makes one conscious first of its technical qualities, good or bad, is not a good picture, whatever else it may be.”

Patrick Swift (1927–1983) British artist

The Artist Speaks (1951)

Suffering, Despair

“We’re creators by permission, by grace as it were. No one creates alone, of and by himself. An artist is an instrument that registers something already existent, something which belongs to the whole world, and which, if he is an artist, he is compelled to give back to the world.”

Henry Miller book Sexus

The Rosy Crucifixion I : Sexus (1949)

World

“We come from geek culture, we come from the free software movement, we have a lot of technologists involved. If we had done the same sort of comparison on poets or artists, I think that we would not have fared nearly as well.”

Jimmy Wales (1966) Wikipedia co-founder and American Internet entrepreneur

Wales to the Miami Herald, "Will Wikipedia change history?" http://www.miami.com/mld/miamiherald/business/technology/15328352.htm

Thinking

“If you were an artist or novelist, or a poet or somebody like that, nobody would think it odd if you worked in your own home. In science there's none of this at all. I'm almost the only independent scientist in Britain. Everybody else works in large institutions, universities, or industrial labs. Why should one expect scientists to work that way?”

James E. Lovelock (1919) independent scientist, environmentalist and futurist

"The Man Who Named the World" (1990)

Way, Home, Thinking, Universe

“saddened to hear the passing of a true artistic master, H. R. Giger. Ur legacy will live on through ur innovative & stimulating originality”

Frances Bean Cobain (1992) American artist

13 May 2014 https://twitter.com/alka_seltzer666/status/466293929432723456 <br class="br"> Twitter https://twitter.com/alka_seltzer666 posts

“The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.”

Hans Hofmann (1880–1966) American artist

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

Life, Law, Nature, Personality

“I think the reason we [Baziotes himself and Richard Lippold ] begin in a different way, is that this particular time has gotten to a point where the artist feels like a gambler. He does something on the canvas and takes a chance in the hope that something important will be revealed.”

William Baziotes (1912–1963) American painter

Source: 1950s, Artists' Session at Studio 35, (1950), p. 219

Hope, Way, Feeling, Thinking

“To be preyed upon by those stronger than you is bad enough; but to allow your artists and children to be slaughtered and defiled by barely organized foreigners who could be kept out by simple acts of national self-respect is far more shameful.”

Steve Sailer (1958) American journalist and movie critic

Checking Iron Age Barbarian Prejudice http://takimag.com/article/checking_iron_age_barbarian_prejudice_steve_sailer/print#ixzz4A7r77jkG, Taki's Magazine, April 22, 2015

Children

“And lest I offend art lovers, it should be pointed out that even an old master, bought from the the artist for $100 and sold 350 years later for $10,000,000, has returned only 3.34% per year.”

William J. Bernstein (1948) economist

Source: The Four Pillars of Investing (2002), Chapter 2, Measuring The Beast, p. 45

Art, Lovers

“If one defends the bourgeois, philistine virtues, one does not defend them merely from the demonism or bohemianism of the artist but from the present bourgeoisie itself.”

Lionel Trilling (1905–1975) American academic

Notebook entry (1951), published in Partisan Review: 50th Anniversary Edition, ed. William Philips (1985)

“I like the notion of working the program, like an artist works a lump of clay. An artist wants to make a sculpture, but before she makes the sculpture, she just massages the clay. She starts towards making the sculpture, and sees what the clay wants to do. And the more she handles the clay, the more the clay tends to do what she wants. It becomes compliant to her will.
A development team works on a piece of code over several months. Initially, they make a piece of code, and it's a little stiff. It's small, but it's still stiff. Then they move the code, and it gets a little easier to move.”

Ward Cunningham (1949) American computer programmer who developed the first wiki

A Conversation with Ward Cunningham (2003), Working the Program

“Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime
Source: 1936 - 1941, Life Memories' (1938), p. 24

Art, Soul, Sense

“The only way to development(as an artist) cultivating one's own innate powers.”

Henri Gaudier-Brzeska (1891–1915) French painter and sculptor

Letter to Dr Uhlemayr-Savage Messiah By H S (Jim) Ede Heinimann (1931)

Way

“An artist is someone who carries his center within himself. Whoever lacks such a center has to choose some particular leader and mediator outside of himself.”

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

Ein Künstler ist, wer sein Centrum in sich selbst hat. Wem es da fehlt, der muss einen bestimmten Führer und Mittler ausser sich wählen.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 45

“What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavorable and disquieting effect on the viewer.”

Caspar David Friedrich (1774–1840) Swedish painter

cited by Timothy Mitchell, (September 1984), in 'Caspar David Friedrich's Der Watzmann: German Romantic Landscape Painting and Historical Geology', 'The Art Bulletin', 66 (3), p. 452–464, doi:10.2307/3050447, JSTOR 3050447
undated

Nature

“To the Young Artists of Italy!
The cry of rebellion that we launch, linking our ideals with those of the Futurist poets, does not originate in an aesthetic clique. It expresses the violent desire that stirs in the veins of every creative artist today.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Original text:
Agli artisti giovani d'Italia!
Il grido di ribellione che noi lanciamo, associando i nostri ideali a quelli dei poeti futuristi, non parte già da una chiesuola estetica, ma esprime il violento desiderio che ribolle oggi nelle vene di ogni artista creatore.
Source: 1910, Manifesto of Futurist Painters', Feb. 1910, p. 24: Lead paragraph

Cry

“I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14... Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Love, Art, Way, Understanding

“There are those whose own vulgar normality is so apparent and stultifying that they strive to escape it. They affect flamboyant behavior and claim originality according to the fashionable eccentricities of their time. They claim brains or talent or indifference to mores in desperate attempts to deny their own mediocrity. These are frequently artists and performers, adventurers and wide-life devotees.
Then there are those who feel their own strangeness and are terrified by it. They struggle toward normalcy. They suffer to exactly that degree that they are unable to appear normal to others, or to convince themselves that their aberration does not exist. These are true freaks, who appear, almost always, conventional and dull.”

Katherine Dunn book Geek Love

Geek Love (1989)

Life, Behavior, Feeling, Fashion

“I'm trying to change the world or at least to make the horrors of the global capitalism visible. I don't care much about art. I used to be a total artist but now I'm more a human being.”

Riiko Sakkinen (1976) Finnish visual artist

"More a Human Being than an Artist" (6 February 2013) http://www.riikosakkinen.com/blog/?show=archive&m=02-2013

World, Art, Change

“Objective' analysis is a tool, primarily useful for suggesting or confirming putative relationships between different musical styles….'Critical' analysis results not in a statistical measurement of style or proof of relationship but rather, ideally, in a formal model for a relatively independent and artistically controllable style within a culture, and should then be viable for accounting for individual manifestations of that style…”

Harold Powers (1928–2007) American academic

Music

“The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure.”

John F. Kennedy (1917–1963) 35th president of the United States of America

Remarks at Amherst College (26 October 1963)
1963

Faith, Reality, Personality

“The technical procedures doubtless release energies in the artist that remain unused in the much more lightweight processes of drawing or painting”

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

referring to his printmaking
Quote from Uber Kirchners Graphik, (under his pseudonym de:Louis de Marsalle) E. L. Kirchner, Genius 3, Book 2, 1922, 251-63, reprinted by National Gallery, Washington D.C. 2003, p. 226
1920's

Drawing, Painting

“What does the artist create? Forms and spaces! How does he create them? In certain chosen proportions... O satire, you plague of intellectuals.”

Paul Klee (1879–1940) German Swiss painter

Quote (1905), # 599, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

“Great artists are always far-seeing. They easily avoid the big stumbling blocks of fact. They rely on their own simplicity and vision. It is fact-fetichism that has given us those scores and scores of American books on America, the works of sociologists, anthropologists, topical "problem" hunters, working-parties and statisticians, which in the end leave us empty. Henry James succeeds because he rejects information. He was himself the only information he required.”

V.S. Pritchett (1900–1997) British writer and critic

"Henry James: Birth of a Hermaphrodite", p. 131
The Tale Bearers: English and American Writers (1980)

Books, Problem

““Truth” is the reigning sacred object of the scholarly community, as “art” is for literary/artistic communities; these are simultaneously their highest cognitive and moral categories, the locus of highest value, by which all else is judged.”

Randall Collins (1941) American sociologist

Source: The Sociology of Philosophies (1998), p. 19

Truth, Art, Communication

“It is impossible to understand Art and the glory of its history without avowing religious spirituality and the mythical roots that lead us to the very reason of being of the artistic phenomenon. Without the one or the other there would be no Egyptian pyramids, nor those of ancient Mexico. Would the Greek temples and Gothic cathedrals have existed?”

Luis Barragán (1902–1988) Mexican architect

In his acceptance of the Pritzker Architecture Prize, 1980

Art, History, Understanding

“I categorically refused to consider the surrealists as just another literary and artistic group. I believed they were capable of liberating man from the tyranny of the 'practical, rational world'. I was going to become the Nietzsche of the irrational. I, the obsessed rationalist, was the only one who knew what I wanted: I was not going to submit to irrationality for its own sake, to the narcissist and passive irrationality others practiced. I would do completely the opposite. I would fight for the 'conquest of the irrational'. In the meantime my friends would let themselves be overwhelmed by the irrational, succumbing, like so many others, Nietzsche included, to that romantic weakness.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 9

World, Fight

“When I was five years old, my mother took me to the Metropolitan. I remember being overwhelmed by the hush — the glamor of the place. Also I used to be mesmerized by the stained-glass windows in church — but it never occurred to me that anyone made them. I thought they were just there, like trees, chairs, houses and the reproductions on the walls at home. I was always drawing, but I didn't make any connection. Then, by the time I was 10 or 11, other kids were asking me for my drawings and were referring to me as an artist. I hadn't given the matter any thought. I just loved to draw. I loved the activity. But when they bestowed the title on me (by then I was reading about artists and going to museums on my own), I thought, oh yes, I'm an artist, and from then on I took it for granted — and I began to compete. I'd read that Raphael had done something by the age of 12 and I'd get very anxious. I became very time-conscious. If I read about someone's great accomplishment at the age of 20, I'd heave a sigh of relief and feel, maybe theres still time. How did you start?”

Elaine de Kooning (1918–1989) American painter

to Rosalyn Drexler
n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Love, Age, Feeling, Home

“In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers — that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks … Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.”

Paul Robeson book Here I Stand

Paul Robeson : Here I Stand (1958), p. 124

People, Understanding

“Nepotism. My brother’s son, André Fischer, was the drummer in the band Rufus, with Chaka Khan. Apparently, the arrangements I made for their early records were appreciated, so in the following years I was hired almost exclusively by black artists. I am surprised that my arrangements are now considered one of the prerequisites for a hit album. People feel that they make a song sound almost classical.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

On how a white American of German extraction became the orchestral 'sweetener' of choice for R&B artists, as quoted in "Clare Fischer: The Best Kept Secret in Jazz" http://www.artistinterviews.eu/?page_id=5&parent_id=22/

People, Feeling

“By definition, a catalogue raissonne employs methodical scholarship to gather and digest in systematic form all that can be known of an artist's work and life. In short the evidence of his intellectual and cultural life.”

Gail Levin (1948) art historian

Introduction -'Edward Hopper-an intimate biography' University of California Press, Berkeley, 1995 ISBN 0520214757

Life

“The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others. It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

Art, Support, Painting

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

Dreams, Art, Nature, Teachers

“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

World, Sense, Painting

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

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

Pleasure, Hope, Art, Music

“She has a fascination with Mayan prophecies, and she's writing a book that's sort of her remembrance of her past incarnation. Whatever she applies herself to, she makes it this beautiful, glorious world around her. All of us kids have always been artistic because of her influence.”

Brandon Boyd (1976) American rock singer, writer and visual artist

on his mom, Dolly Wiseman. Spin (October 2001)

Books, World, Beauty, Past

“You become an artist to upset your family.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 51 (Gunter Brus.Nach uns die Malflut!Pheoretische Poesien.Klagenfurt:Ritter Verlag,2003, p. 135)

Family

“There are no holidays for art; and that’s just fine with the artist.”

Elfriede Jelinek book The Piano Teacher

P 29
The Piano Teacher (1988)

Art, Holiday

“When I was quite young, as far back as I remember, I drew, but the gift is nothing without the will to make it worth while. The artist must have the patience of water that eats away the rock drop by drop.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 7

Water, Patience

“My family was musical on both sides. My father's family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple's double -- she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the '20s, '30s and '40s in the kitchen for my grandmother. After my dad was a prisoner in Cuba for two years, we moved to Texas, where I was the only Hispanic in the class. I remember hearing "Ferry Cross the Mersey," by Gerry and the Pacemakers, and thinking, "that had bongos and maracas -- that was really a bolero." And the Beathles song, "Till There was You"… also Latin. I wrote poetry, which got me into lyrics. Stevie Wonder, Carole King, Elton John pulled me into pop. I started singing with a band -- just for fun -- when I 17. And pretty soon, I was thinking I could sing pop in English as well as Spanish. And as you know, we did that and we broke through. But we waited until 1993 to release "Mi Tierra" -- we wanted my fans to be rady for the traditional Cuban music. And then we kept adding: more Cuban influences, more Latin America. And, underneath it all, African drums and rhythm. The concept of "90 Millas" starts with the songs of the '40s. We invited 25 masters of Latin music -- giants on the cutting edge of creativity, musicians who pushed it out to the world, young Cuban artists and Puerto Ricans who are huge -- so we could blend cultures and generations. So it is like coming home, but not exactly to the old Cuba.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

World, Family, Music, Home

“The key point today is to establish the universal validity of individual mythology... The artistic moment is therefore that in which the discovery of pre-conscious universal myths comes about, and in the reduction of these into the form of images. It is clear that if the artist is to be able to bring to light zones of myth that are authentic and virginal he must have both an extreme degree of self-awareness and the gifts of iron precision and logic.”

Piero Manzoni (1933–1963) Italian artist

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

Light, Universe

“It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with “beauty” and thus, taste, was inevitably duty bound to discuss art as well. Out of this “habit” grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other “functions” of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

World, Beauty, Art, Error

“Aesthetic value is often the by-product of the artist striving to do something else.”

Evelyn Waugh (1903–1966) British writer

Diaries of Evelyn Waugh (1976)

“Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio... But it hasn't anything to do with your own art or the artist's intention.”

Robert Rauschenberg (1925–2008) American artist

1950's, Is today's artist with or against the past, (1958)

Art, Idea, Thinking, Painting

“Lord, oh Lord, will I return to you once, being a genuine artist. Will all those Art lovers once behold my works with reverence and the laurel of Art then adorn my head... I experience so ardently all the beauty of my noble career... And once again I call to you, it would be much better not to live at all than being disappointed in my feeling.”

Jozef Israëls (1824–1911) Dutch painter

translation from original Dutch text: Fons Heijnsbroek
version in original Dutch (citaat uit de brief van Jozef Israëls, in het Nederlands): God God zal ik nog eenmaal als een waarachtig kunstenaar tot u keeren. Zullen nog eenmaal al die Kunstminnaren mijne werken met eerbied aanschouwen en de lauwer der Kunst mijn schedel sieren.. .Ik voel zo vurig al het schoone mijner edele loopbaan.. .Ach nogmaals roep ik tot u, laat mij veel liever niet leven dan in mijne gevoelen teleurgesteld te worden.
In a letter of Jozef Israels from Amsterdam, 16 July 1843, to his friend in Groningen, pharmacist Essingh; from RKD: Archive, A.S. Kok, The Hague
Quotes of Jozef Israels, 1840 - 1870

Beauty, Art, Disappointment, Feeling

“The great moral teachers of humanity were, in a way, artistic geniuses in the art of living.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

1940s, Religion and Science: Irreconcilable? (1948)

Art, Way, Teachers

“It is doubtful whether the artist [unknown] altogether knew what he depicted here in this panel, and even more doubtful whether he could have expressed it in words. That which we praise here as well thought-out and cleverly arranged may, in fact, have been achieved by him unconsciously; for the artist was transformed by pure harmoniousness while executing this picture, and his feeling become his law. Only his disposition, his spiritual exaltation, could have brought forth such a fruit as this picture. Just as the pious man prays without speaking a word and the Almighty hearkens unto him, so the artist with true feeling paints and the sensitive man understands and recognizes it; while even the less sensitive gain some inkling of it.”

Caspar David Friedrich (1774–1840) Swedish painter

cited in: Vaughan, William-Börsch-Supan, Helmut- Neidhardt, Hans Joachim, Caspar David Friedrich. 1774-1840. Romantic Landscape Painting in Dresden, London, The Tate gallery, 1972, p. 104
undated

Law, Feeling, Understanding, Painting

“Perhaps the Russians have done the right thing, after all, in abolishing copyright. It is well known that conscious and unconscious appropriation, borrowing, adapting, plagiarizing, and plain stealing are variously, and always have been, part and parcel of the process of artistic creation. The attempt to make sense out of copyright reaches its limit in folk song. For here is the illustration par excellence of the law of Plagiarism. The folk song is, by definition and, as far as we can tell, by reality, entirely a product of plagiarism.”

Charles Seeger (1886–1979) American musicologist

Unsourced

Law, Reality, Sense, Parting

“Los Angeles is the home of self-expression, but the artists are middle-class and middling-minded; no passions will calcify here for years in the gloom to be revealed a decade later as the tessellations of hard and fertile work. … In this land of the pretty-pretty, the virility is in the barbarisms, the vulgarities, it is in the huge billboards, the screamers of the neon lighting, the shouting farm-utensil colors of the gas stations and monster drugstores, it is in the swing of the sports cars, hot rods, convertibles.”

Norman Mailer (1923–2007) American novelist, journalist, essayist, playwright, film maker, actor and political candidate

Superman Comes to the Supermarket (1960)

Angels, Cars, Color, Home

“The function of the modern artist was not to convey beauty, but to convey new truths.”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

Truth, Beauty

“The best artists know what to leave out. They know how much of the support should show through as the pigment is applied, what details aren't necessary.”

Charles de Lint (1951) author

"Dream Harder, Dream True", p. 293
The Ivory and the Horn (1996)

Support

“So one time for my disillusioned artists, I hear ya
Two times for the kid that air-guitars in the mirror
Three times for the 9-to-5-in' bus ridin' dudes
And four times for my dreamers, yo I'm just like you
That's why I sing for my queens with their own pair of wings
My brothers flyin' beside me, drama behind me
Mama tried to find me, she inquired emphatically
I was in the sky with all these other ghetto kids, defying gravity, uh”

Danny! (1983) American rapper

"Fly, Pt. 2"
Albums, Danny Is Dead (2007)

Singing, Time

“I cannot teach my art, nor the art of any school whatever, since I deny that art can be taught, or, in other words, I maintain that art is completely individual, and is, for each artist, nothing but the talent issuing from his own inspiration and his own studies of tradition.”

Gustave Courbet (1819–1877) French painter

1860s, Realist Manifesto' - an open letter, 1861

School, Art, Study

“You can not take something that an artist created during the creative process, and then discarded, and say it is an authentic work of that artist.”

Marc Randazza (1969) American writer

“The fine art world and the commercial art industry are both all about money. It's hard to say which is more contemptible: the fine art world with its double talk and pretensions to the cultural high ground, or the world of commercial art trying to sell to the largest mass market it can reach. A serious artist really shouldn't be too deeply involved in either of these worlds. It's best to be on the fringe of them. In general, if you want to be a success and make the money, you have to play the game. It's no different in the fine art world, it's just a slightly different game. Essentially, you're marketing an illusion. It's much easier to lie to humans and trick them than to tell them the truth. They'd much rather be bamboozled than be told the truth, because the way to trick them is to flatter them and tell them what they want to hear, to reinforce their existing illusions. They don't want to know the truth. Truth is a bring-down, a bummer, or it's just too complicated, too much mental work to grasp.”

Robert Crumb (1943) American cartoonist

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 297

Money, Truth, Lie, World

“No new artistic system will withstand the pressure of a growing new culture until the very foundation of Art will be erected on the real laws of life.
Until all artists will say with us…
All is a fiction… only life and its laws are authentic and in life only the active is beautiful and wise and strong and right, for life does not know beauty as an aesthetic measure… efficacious existence is the highest beauty.
Life knows neither good nor bad nor justice as a measure of morals… need is the highest and most just of all morals.
Life does not know rationally abstracted truths as a measure of cognizance, deed is the highest and surest of truths.
Those are the laws of life. Can art withstand these laws if it is built on an abstraction, on mirage, and fiction?…”

Naum Gabo (1890–1977) Russian sculptor

Quoted in: Naum Gabo, Michael Compton (1987) Naum Gabo: sixty years of constructivism. p. 8
1918 - 1935, Realistic Manifesto, 1920

Life, Truth, Justice, Law

“New York City is such an awesome place with a lot of great artists doing great things at the top level. There was so much going on then and so much going on now. It was really ‘the’ place to go to hone your artistry. I became a member of a couple of girl groups early on and performed at a few clubs around there. But basically, I was doing any job I could just to stay alive. A lot of extra work. I was a starving artist.”

Erika Jayne (1969) American singer, actress and television personality

Erika Jayne interview to 303 Magazine https://303magazine.com/2013/09/reel-deal-erika-jayne-qa/ (2013)

Girl

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.”

Robert Motherwell (1915–1991) American artist

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

Art, Feeling, Sense

“Every time my nose gushed blood, I felt like a little boy who'd wet his pants. I jumped out of the chair, pressed a handkerchief against my face, and hustled toward the nearest bathroom […] How red the blood looked against the whiteness of the porcelain sink, I thought. How vividly imagined that color was, how aesthetically shocking. The other fluids that came out of us were dull in comparison, the palest of squirts. Whitish spittle, milky semen, yellow pee, green-brown mucus. We excreted autumn and winter colors, but running invisibly through our veins, the very stuff that kept us alive, was the crimson of a mad artist—a red as brilliant as fresh paint.”

Paul Auster book Oracle Night

Paul Auster, Oracle Night, New York: Henry Holt and Company, pp. 41-42.
Oracle Night (2003)

Color, Imagination, Boy, Autumn

“Demiurgus [said my father] was enamoured of refined, perfect, and sophisticated materials. We give precedence to junk. We are simply rapt by it, entranced by the cheapness, the paltriness, the tawdriness of the material. Do you understand,” my father asked, “the profound meaning of that weakness, that passion for gaudy tissue-paper, papier-mâ ché, coloured lacquer, straw, and sawdust? It is,” he said with a pained smile, “our love for matter as such, for its downiness and porousness, its unique, mystical consistency. Demiurgus, that renowned master and artist, hides it away, causes it to vanish behind life’s make-believe. We, to the contrary, love its abrasiveness, its unruliness, its rag doll ungainliness. Behind each gesture, each movement, we like to see its exertion, its torpor, its sweet ursinality.”

Bruno Schulz (1892–1942) Polish novelist and painter

“A Treatise on Mannequins” http://www.schulzian.net/translation/shops/treatise1.htm <br class="br">His father, Creativity

Love, Life, Pain, Smile

“To Leonardo a landscape, like a human being, was part of a vast machine, to be understood part by part and, if possible, in the whole. Rocks were not simply decorative silhouettes. They were part of the earth's bones, with an anatomy of their own, caused by some remote seismic upheaval. Clouds were not random curls of the brush, drawn by some celestial artist, but were the congregation of tiny drops formed from the evaporation of the sea, and soon would pour back their rain into the rivers.”

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

Source: Leonardo da Vinci (1939), Ch. Six: 1497-1503

Parting, Sea

“I’ve never planned any part of my career—except being an artist. And I was pushed into that corner because I thought being an artist was the only way to have a little freedom.”

Ai Weiwei (1957) Chinese concept artist

2010-, Life’s Work: Ai Weiwei, 2012

Way, Freedom, Parting

“The role of the artist, of course, has always been that of image-maker. Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time.”

Adolph Gottlieb (1903–1974) American artist

The Ideas of Art, Tiger's Eye, Vol. 1, nr 2, December 1947, p. 43.
1940s

Reality, Evil, Time

“Writing graffiti is about the most honest way you can be an artist. It takes no money to do it, you don't need an education to understand it and there's no admission fee.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

(Tristan Manco. Stencil Graffiti)
Other sources

Money, Education, Way, Understanding

“Jerry Goldsmith is an artist who meets all the demands upon the composer in films. He communicates, integrates, subordinates, supports, and designs with discipline.”

Jerry Goldsmith (1929–2004) film composer

Franklin Schaffner
About

Communication, Support

“Transforming leadership, [is defined as] leadership that builds on man's need for meaning, leadership that creates institutional purpose … he is the value-shaper, the exemplar, the maker of meanings … he is the true artist, the true pathfinder.”

Tom Peters book In Search of Excellence

Source: In Search of Excellence (1982), p. 82 as cited in: Amir Levy, Uri Merry (1986) Organizational Transformation: Approaches Strategies, and Theories. p. 52.

“It seemed that he gazed down on me from the height of his divinity with the aloof though passionate attention of an artist judging his finished work; calmly rejoicing in his achievement, but recognizing at last the irrevocable flaws in his initial conception, and already lusting for fresh creation.”

Olaf Stapledon book Star Maker

Source: Star Maker (1937), Chapter XIII: The Beginning and the End; 3. The Supreme Moment and After (p. 164)

Passion

“Laura is a free spirit. She's also a great student and a dedicated artist – and there aren't very many people I call artists. But the entire cast of this film, they're all true artists, dedicated to their own inner truth, and they have the courage to share that. You don't find that very often.”

Sandra Seacat (1936) American acting teacher and actress

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

People, Truth, Courage

“Back in Moscow in 1925 - teacher at 'Vchutemas' of interior design and furniture at the faculty of wood and metalwork. In 1926 my most important artistic work began: designing exhibitions. In that year I was invited by the committee of the International Exhibition of Art in Dresden to design the space for contemporary art. Was sent abroad for by 'VOKS.”

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

[In] 1927 Exhibition of Typography in Moscow.
1926 - 1941, Autobiography of the artist' (1941)

Art, Teachers

“I still, in presence of life… have reactions — as many as possible… It's, I suppose, because I am that queer monster, the artist, an obstinate finality, an inexhaustible sensibility. Hence the reactions — appearances, memories, many things, go on playing upon it with consequences that I note and "enjoy" (grim word!) noting. It all takes doing — and I do. I believe I shall do yet again — it is still an act of life.”

Henry James (1843–1916) American novelist, short story author, and literary critic

Letter to Henry Adams (21 March 1914).

Life, Appearance, Memory

“Toscanini was hailing a great artist, but that voice was more than a magnificent personal talent. It was the religious voice of a whole religious people — probably the most God-obsessed (and man-despised) people since the ancient Hebrews.”

Whittaker Chambers (1901–1961) Defected Communist spy

"In Egypt Land," December 30, 1946
TIME magazine (1939-1948)

God, People, Personality

“The modernist thirst for originality makes the mediocre artist believe that the secret of originality consists simply in being different.”

Nicolás Gómez Dávila (1913–1994) Colombian writer and philosopher

Sucesivos Escolios a un Texto Implícito (1992)

Secret

“I intend to make this day forward the first day of the rest of my life. We can change our lives. You say, 'Well, what's wrong with your life, Michael?' Well, it's not that there's anything wrong with my life, but it's not what I want it to be. I don't feel that I'm inspiring people in the way I want to inspire them. You see, you can inspire through hate; you can inspire through love, hope, humor – the positives. I look at the history of the world, and I look at the world today, and I realize that if we don't inspire each other through positive attributes – love, hope and humor – we're gonna descend into the barbarism of the Left and the barbarism of ISIS. You like me to be hard, you like me to be tough, you like me to give you the breaking news, you like me to be cynical, you like me to analytical, you like me to give you stuff that you don't hear anywhere else – I get that. But there's a limit to that. There's a lot of area beyond all that.I think of Christmas. Christianity is the religion of peace. Christianity is the true religion of peace. 'Turn the other cheek.' 'Do unto others as you would have them do unto you.' These are messages that come from Christianity. What can you do in an age of deceit and lies and terror? You can go to church again. However un-needing you think you really are, you know in your heart that there's something missing in you. You know that you crave something greater. Because the human being is not a dog. We are unique creatures. And we need something different than the bear, the dog, the snake and the eagle. What is that thing that we need? It's that 'thing' called God.The media has promulgated the idea, and promoted the idea, that we only need food and fornication. And so when people are empty that's what they seek. And when they are really empty, what happens? They become drug addicts. They start with marijuana, they end up with heroin, crack, you name it. As God has been driven out of America, drugs have entered America. What does an empty soul look to do? An empty soul looks to fill itself. Just as an empty vessel needs to be filled with a liquid to be complete, an empty human being needs to fill itself to be complete. And how does it fill itself? I know, again, many of you will laugh because you're cynical; it's through those things I'm talking about – inspiration. Do you think a musician can play one day without inspiration from somewhere? The greatest artists in the history of the world were not drug-addicts. They were usually God-addicts. Look at the greatest art in history, you'll find most of them were super religious people, who literally saw God in their living room, and they took the power of God and that was transmitted through the paintbrush, or through that piece of marble. How could a man like Rodin take a piece of inert stone, and inside that stone see the essence of the human form, and sculpt from that block of inert stone, a marble, the portrait of a human being that looks so real – a hundred years later I go and look at them in the museum, and literally inside that carved eye I can see the person; how is that possible? How? It's a different show than I've ever done in my 21 years, because each day to me – I must tell you – I see as my last day, my last day on Earth.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

The Savage Nation (1995- ), 2015

Love, Life, God, Hate

“Heroes have filled the zodiac of beneficent labors, and then given up their mortal part to the fire without a murmur. Sages and lawgivers have bent their whole nature to the search for truth, and thought themselves happy if they could buy, with the sacrifice of all temporal ease and pleasure, one seed for the future Eden. Poets and priests have strung the lyre with heart-strings, poured out their best blood upon the altar which, reare'd anew from age to age, shall at last sustain the flame which rises to highest heaven. What shall we say of those who, if not so directly, or so consciously, in connection with the central truth, yet, led and fashioned by a divine instinct, serve no less to develop and interpret the open secret of love passing into life, the divine energy creating for the purpose of happiness; — of the artist, whose hand, drawn by a preexistent harmony to a certain medium, moulds it to expressions of life more highly and completely organized than are seen elsewhere, and, by carrying out the intention of nature, reveals her meaning to those who are not yet sufficiently matured to divine it; of the philosopher, who listens steadily for causes, and, from those obvious, infers those yet unknown; of the historian, who, in faith that all events must have their reason and their aim, records them, and lays up archives from which the youth of prophets may be fed. The man of science dissects the statement, verifies the facts, and demonstrates connection even where he cannot its purpose·”

Margaret Fuller book Woman in the Nineteenth Century

Woman in the Nineteenth Century (1845)

Love, Life, Happiness, Pleasure

“I am a great artist and I know it. It's because of what I am that I have endured so much suffering, so as to pursue my vocation, otherwise I would consider myself a rogue — which is what many people think I am, for that matter. Oh well, what difference does it make. What upsets me the most is not so much the poverty as the things that perpetually get in the way of my art, which I cannot carry out the way I feel and which I would carry out if it weren't for the poverty that is like a straitjacket. You tell me I am wrong to stay away from the artist[ic] center. No, I am right; I've known for a long time what I am doing and why I am doing it. My artistic center is in my brain and nowhere else, and I am strong because I am never thrown off-course by other people and because I do what is in me.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Original: Je suis un grand artiste et je le sais. C'est parce que je le suis que j'ai tellement enduré de souffrances. Pour poursuivre ma voie, sinon je me considérerai comme un brigand. Ce que je suis du reste pour beaucoup de personnes. Enfin, qu'importe! Ce qui me chagrine le plus c'est moins la misère que les empêchements perpétuels à mon art que je ne puis faire comme je le sens et comme je pourais le faire sans la misère qui me lie les bras. Tu me dis que j'ai tort de rester éloigné du centre artistique. Non, j'ai raison, je sais depuis longtemps ce que je fais et pourquoi je le fais. Mon centre artistique est dans mon cerveau et pas ailleurs et je suis fort parce que je ne suis jamais dérouté par les autres et je fais ce qui est en moi.
Source: 1890s - 1910s, The Writings of a Savage (1996), pp. 53-54: Quote in a letter to his wife, Mette (Tahiti, March 1892)

People, Art, Way, Feeling

“My personal philosophy is that all writers need to put GET PAID in their mission statement. All that artistic creative stuff is nice too, but make sure GET PAID is in there”

Larry Correia (1977) American fantasy writer

in all caps <br class="br">"How Authors Get Paid, part 2", Monster Hunter Nation http://monsterhunternation.com/2015/06/25/how-authors-get-paid-part-2/, 2015-06-15

Personality

“To produce pure proletarian art the artist must be at one with the worker; this is impossible, not for political reasons, but because the artist never is at one with any public.”

William Empson (1906–1984) English literary critic and poet

Some Versions of Pastoral (London: Chatto & Windus, 1935) p. 15.
Other

Art

“Art is an expression and stimulus to the imaginative life rather than a copy of actual life. Art appreciates emotion in and for itself. The artist, is the most constantly observant of his surroundings and the least affected by their intrinsic aesthetic value. As he contemplates a particular field of vision the aesthetically chaotic and accidental conjunction of forms and colours begin to crystallize into a harmony.”

Roger Fry (1866–1934) English artist and art critic

An essay on aesthetics (1909) from Vision and design by Roger fry, Forgotten Books , 2012
Art Quotes

Life, Art, Imagination

“.. I want a lovely life; in order for it to be, harmony and style are necessary. I avow mine to the key of aesthetic sentiment – the constant permanent creation everywhere and in every one. All is false there, all is true. The truth is the desire to see falsely. I do not want the naked truth; it is the principle of my life. It is that which makes my life one which is artistic and complete. Feelings, events, people and things, such as they are, are nothing to me. I wish them invented, illusory, false in so far as true life and in so far as art.”

Marianne von Werefkin (1860–1938) expressionist painter

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

Love, Life, People, Truth

“At Chartres Christ is identified with his Mother, the spirit of love and grace, and his Church is the Church Triumphant.

Not only is Fear absent; there is not even a suggestion of pain; there is not a martyr with the symbol of his martyrdom; and what is still more striking, in the sculptured life of Christ, from the Nativity to the Ascension, which adorns the capitals of the columns, the single scene that has been omitted is the Crucifixion. There, as everywhere in this Portal, the artists seem actually to have gone out of their way to avoid a suggestion of suffering.”

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

Mont Saint Michel and Chartres (1904)

Love, Life, Pain, Fear

“The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.”

Sol LeWitt (1928–2007) American artist

“Serial Project #1, 1966,” Aspen 5/6 (Fall/Winter 1967)
Quotes of Sol Lewitt

Understanding

“Poetry, finally, is the form of art where not only are the unities of time, place, and action freed from the restrictive bounds of the single instant, the single spot, the single simple transaction, but the medium of embodiment is thought itself, with its completely articulate utterance in language. Here the very source of the ideal view of the world, the very origin of the creative artistic impulse, becomes the material and the instrument of its own purpose, the executor of its own will. The scope of the creative faculty is therefore the utmost conceivable, and poetry rightfully takes the highest place as the art of the greatest possibilities — the art, indeed, of an all-inclusive compass, as at length completely self-supplying and self-directing.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.210

World, Art, Time

“Every so often, every artist feels: 'I'll never paint again. The muse has gone out the window.' In 1985 I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Feeling, Painting

“Undoubtedly the best language for the expression of this ‘unfathomable’ quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable’ by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann’s creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Lie, Art, Music, Way

“… There's a machine which is called History of Art, which is a structure. And artist fits in this only because he or she is needed for this structure. If for example the History of Art needs some parallel lines, there is an individual who makes parallel lines. And this individual fits into this machine which works by itself; it doesn't care about people or anything else, it just goes by itself.”

Alexander Melamid (1945) Russian artist

Quoted in: Francis Halsall, Systems of Art: Art, History and Systems Theory, (2008) p. 67.
The search for a people's art: painting by the numbers, 1994

People, Art, History

“The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real."
If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own.”

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

Cahiers du Cinema (1960)

Art, Way, Imagination, Reality

“Arts have died in Europe, what we see now in the name of art are the pieces of those artists who are already dead. There is no living art. We, as Turkey, should start a lively, fresh understanding of art.”

Harun Yahya (1956) Turkish author

23 June 2013.
A9 TV addresses, 2013

Art, Understanding, Dead

“Every artist feels alone and isolated. Friends are very important in terms of all sorts of definitions of oneself. They tell you what you are and what they are aside from the intellectual aspects.”

Jasper Johns (1930) American artist

Daily Close-up, after the Flag, Roberta Brandes Gratz, New York Post, 30 December 1970, p. 25
1970s

Feeling

“When we choose a man to beautify our towns, we do not automatically call on the major artists of the world. … We now lavishly praise Frank Lloyd Wright, but we never made any community use of him, though he longed for the chance.”

Paul Goodman book Growing Up Absurd

Source: Growing Up Absurd (1956), p. 153.

World, Communication, Chance

“The encouragement of light-mindedness about traditional philosophical topics serves the same purposes as does the encouragement of light-mindedness about traditional theological topics. Like the rise of large market economies, the increase in literacy, the proliferation of artistic genres, and the insouciant pluralism of contemporary culture, such philosophical superficiality and light-mindedness helps along the disenchantment of the world. It helps make the world’s inhabitants more pragmatic, more tolerant, more liberal, more receptive to the appeal of instrumental rationality.”

Richard Rorty (1931–2007) American philosopher

"The priority of democracy to philosophy"

World, Light, Help

“For the notion of progress in the arts, (either spiritually or artistically) has been discredited by many respectable intellects (Kierkegaard and Baudelaire above all, both of whom encountered the idea when it first reared itself in its present form in Europe).”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)

Art, Idea

“The Black Artist's role in America is to aid in the destruction of America as he knows it. His role is to report and reflect so precisely the nature of the society, and of himself, in that society, that other men will be moved by the exactness of his rendering, and if they are black men, grow strong through this moving, having seen their own strength, and weakness, and if they are white men, tremble, curse, and go mad, because they will be drenched with the filth of their evil.”

Amiri Baraka (1934–2014) African-American writer

Negro Digest, vol. 14, no. 6 (April 1965), p. 65

Men, Nature, Strong, Evil

“An artist reveals his naked soul in his work - and so, gentle reader, do you when you respond to it.”

Ayn Rand book The Romantic Manifesto

The Romantic Manifesto (1969)

Soul

“Tomasz Vetulani's work balances between two fascinating axes, producing an image of an artist juggling various means of expression. From intriguing and expressive objects, made by him from, say, hot white glue or black silicon, with strong social and political connotations - to subtle images-objects, evoking fleeting states, where the sensitive eye of the artist touches the sublimation of certain senses.”

Tomasz Vetulani (1965) Polish artist

Agnieszka Gołębiewska, Curatorial text accompanying exhibition There is no threat. Weapons and colour http://www.olympiagaleria.pl/en.tomasz_vetulani.html, 2017

Sense, Strong

“The hallmark of the minor artist is to be obsessed with style as an end in itself.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Alex Katz" (1986)
Nothing If Not Critical (1991)

“My teacher, Ales Adamovich, whose name I mention today with gratitude, felt that writing prose about the nightmares of the 20th century was sacrilege. Nothing may be invented. You must give the truth as it is. A "super-literature" is required. The witness must speak. Nietzsche's words come to mind – no artist can live up to reality. He can't lift it. It always troubled me that the truth doesn't fit into one heart, into one mind, that truth is somehow splintered. There's a lot of it, it is varied, and it is strewn about the world.”

Svetlana Alexievich (1948) Belarusian investigative journalist and non-fiction prose writer

Quotes from Nobel Lecture

Truth, World, Literature, Reality

Quotes about artist page 12

Quotes about artist
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