Quotes about artist
page 15

“The actualising of God through the medium of the love song remains my prime motivation as an artist.”

Nick Cave (1957) Australian musician

Given during a lecture at the Vienna Poetry Festival (1998)
God and religion

“We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple — to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.”

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

The Art of Fiction http://public.wsu.edu/~campbelld/amlit/artfiction.html (1884)

Art, Exercises, Idea, Failure

“…Another highlight of the festival was the performance of the Alchemy Trio in the Tempel Synagogue. That's a great cracovian cellist Dorota Imiełowska with accordion wizard Konrad Ligas and equally sensational bassist Roman Ślazyk. With musicians performed 16-year-old Łukasz Pawlikowski of which can confidently say that he has joined the ranks of the best Polish cellists. Jewish music they played (even in their own arrangement) enchanted, deeply touched and amused, because this music is not only an emotional but also full of humor. It was not just a concert - artists presented musical and theatrical spectacle. Excellent!”

Łukasz Pawlikowski (1997) Polish cellist

...Kolejnym wydarzeniem festiwalu był występ Alchemy Trio w Synagodze Tempel. To znakomita krakowska wiolonczelistka Dorota Imiełowska z czarodziejem akordeonu Konradem Ligasem i równie rewelacyjnym kontrabasistą Romanem Ślazykiem. Z muzykami wystapił 16-letni Łukasz Pawlikowski, o którym śmiało można powiedzieć, że już dołączył do grona najlepszych polskich wiolonczelistów. Muzyka żydowska, którą grali / również we własnej aranżacji/ zachwycała, wzruszała i bawiła, bo to muzyka nie tylko niezwykle emocjonalna, ale i pełna humoru. To był nie tylko koncert - artyści zaprezentowali spektakl muzyczno-teatralny. Rewelacja!
[Beata Penderecka, http://www.radiokrakow.pl/www/index.nsf/ID/BPEA-9AZLHZ, Cellos on Music in Old Cracow, Radio Kraków, 2013-28-08, Polish]
About

Music, Confidence

“Every artist's problem today is: What will we do with the human?”

Mark Tobey (1890–1976) American abstract expressionist painter

Quote from exhibition catalogue, Mark Tobey, 1951, as cited in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p.13
1950's

Problem

“If America is to produce great painters and if young artists wish to assume a place in the history of the art of their country, their first desire should be to remain in America to peer deeper into the heart of American life, rather than spend their time abroad obtaining a superficial view of the art of the Old World. In the days when I studied abroad conditions were entirely different. The facilities for study in this country were meagre. There were even no life classes in our art schools and schools of painting. Naturally one had to seek instruction elsewhere, abroad. Today we need not do that.”

Thomas Eakins (1844–1916) American painter

Interview, Philadelphia Press; quoted in Lloyd Goodrich, Thomas Eakins (1933).

Life, World, School, Art

“The script [for the movie based on the life of singer Connie Francis -- "Who's Sorry Now?"] is finished and is in the hands of several artists to see if somebody wants to film at the start of”

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

2006
eluniveral.com.mx (December 9, 2005)
2007, 2008

Life

“The artist is seen like a producer of commodities, like a factory that turns our refrigerators. I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt
Source: Art Institute of Chicago. Video Data Bank (1992), On Art and Artists. p. 1991

“I follow the works of Iranian artists even now, sometimes in Paris or in New York and I am happy Iranian artists are still great. Whether they are men or women, they have always been great. Despite all the pressure and censorship inside the country, they haven't been able to stop the creativity of our artists. Some have to work underground, like in cinema, and sometimes their work has political messages, but the number of our artists now has definitely grown in comparison to the past.”

Farah Pahlavi (1938) Empress of Iran

Former queen of Iran on assembling Tehran's art collection http://www.guardian.co.uk/world/2012/aug/01/queen-iran-art-collection, The Guardian, (August 1, 2012). Interviews

Women, Men, Happiness, Past

“They made a good team. As a matter of fact their talents were not too far apart; the artist is two-thirds artisan and the artisan has essentially the same creative urge as the artist.”

Robert A. Heinlein book Sixth Column

Source: Sixth Column (1949; originally serialized in 1941), Chapter 5 (p. 68)

“It is true that the Impressionists perhaps gave a more faithful representation of nature through their discoveries in out-of-door painting. But that they increased their statute as artists by so doing is controversial... If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940, Notes on Painting - Edward Hopper (1933)

Faith, Nature, Painting

“As for an authentic villain, the real thing, the absolute, the artist, one rarely meets him even once in a lifetime. The ordinary bad hat is always in part a decent fellow.”

Colette (1873–1954) 1873-1954 French novelist: wrote Gigi

“The South of France”, Earthly Paradise (1966) ed. Robert Phelps

Parting

“At the Bauhaus, Klee exuded a healthy, generative atmosphere – as a great artist and as a lucid, pure human being.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, from Bauhaus - Zeitschrift für Gestaltung, no. 3, 1931; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html 1930 - 1944

“Don't underestimate the influence of the Surrealist state of mind on the young American painters [like his artist-friends William Baziotes and w:Roberto Matta in those days.”

Robert Motherwell (1915–1991) American artist

Abstract Painting, Thomas Hess, New York, Viking 1951, p. 132
1950s

“I can see the black spots of the sun [remark to Sonia Delaunay, his wife and female artist].”

Robert Delaunay (1885–1941) French painter

Quote from 'Nous irons jusqu'au soleil', Delaunay; as cited in: 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 214
1915 - 1941

Sun

“Arakawa: The manga artist that I look up to the most is Suiho Tagawa, the author of Norakuro. He is the root of my style as an artist. I also love Rumiko Takahashi and Kinnikuman or Ultimate Muscle by Yudetamago. As far as composition and how to draw, I learned that when I was apprenticed to Hiroyuki Eto, the author of Mahoujin Guru Guru for Shonen GanGan.”

Hiromu Arakawa (1973) award winning Japanese manga artist

Interview with mobuta.com (2004)

Love, Learning, Drawing

“.. because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting? ] was just like printing except it was made by hand by him. That doesn’t add a thing to it.”

Marcel Duchamp (1887–1968) French painter and sculptor

it's just the idea of imitating the beer can that is important.
Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194
posthumous

Art, Idea, Beer, Painting

“My dealer was a friend of the Beatles and the Stones, and he suggested they used a fine artist. I talked to the Beatles at length about what the cover would be. I worked out it would show the moment after they had played in a bandstand in the park. My big contribution was the life-size cutouts, the magic crowds.”

Peter Blake (1932) British artist

Charlotte Higgins, "It was 37 years ago today &ndash; and Sgt Pepper cover has still failed to pay", http://www.guardian.co.uk/thebeatles/story/0,,1230411,00.html The Guardian, 2004-06-03 Sgt. Pepper's cover

Life

“A manifesto is a communication made to the whole world, whose only pretensions is to the discovery of an instant cure for political, astronomical, artistic, parliamentary, agronomical and literary syphilis. It may be pleasant, and good-natured, it's always right, it's strong, vigorous and logical.
Apropos of logic, I consider myself very likeable.”

Tristan Tzara (1896–1963) Romanian and French avant-garde poet, essayist and performance artist

1920s
Source: 'Dada Manifesto On Feeble Love And Bitter Love', Intro of part II, by Tristan Tzara, 12th December 1920

World, Communication, Nature, Strong

“But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Art, Way, Painting

“Of course I should be very happy to sell a drawing but I am happier still when a real artist like Weissenbruch says about an unsalable??? study or drawing: "That is true to nature, I could work from that myself."”

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

quote in his letter to brother Theo, from The Hague, The Netherlands in Febr. 1882; 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, p. 20 (letter 177) 1880s, 1882

Happiness, Nature, Study, Drawing

“I'm not a suffragette... Women, as a rule, tend to tidy up pictures that don't need tidying up. How many good women artists are there?”

Helen Frankenthaler (1928–2011) American artist

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

Women

“She's got everything she needs, she's an artist, she don't look back.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Bringing It All Back Home (1965), She Belongs to Me

“The mural artist is concerned with bringing to life dead surfaces by the application of colour.”

Fernand Léger (1881–1955) French painter

Revival of Mural Art, The Listener, August 25, 1937 Vol. XVIII. No. 450, pp. 408-409
Quotes of Fernand Leger, 1930's

Life, Dead

“Avant-garde artistes such as respondents remain entirely free to é pater les bourgeois [shock the middle classes]; they are merely deprived of the additional satisfaction of having the bourgeoisie taxed to pay for it. It is preposterous to equate the denial of taxpayer subsidy with measures 'aimed at the suppression of dangerous ideas.”

Antonin Scalia (1936–2016) former Associate Justice of the Supreme Court of the United States

On tax-funded art: National Endowment for the Arts v. Finley (1998) (concurring).
1990s

Idea

“Anyone who wants to paint should read Bacon. He defined the artists as homo additus naturae... Bacon had the right idea, but listen Monsieur Vollard, speaking of nature, the English philosopher, [Bacon] didn't for-see our open-air school, nor that other calamity which has followed close upon its heels: open-air indoors.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard in museum The Luxembourg, Paris 1897 - standing before the 'Olympia' of Manet; as quoted in Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 36
Quotes of Paul Cezanne, 1880s - 1890s

School, Idea, Nature, Reading

“In such a picture the artist may depart from actual fact, from what actually was, so long as he does not exceed what might have been.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 78

“Even though Kurt died in the most horrific way possible, there is this mythology and romanticism that surrounds him, because he's 27 forever. The shelf life of an artist or musician isn't particularly long. Kurt has gotten to icon status because he will never age. He will always be that relevant in that time and always be beautiful.”

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)

Life, Age, Beauty, Way

“I don't think that Kandinsky was ever really a communist. He just happened to be in Russia [Kandinsky went to Russia in 1914, because of the outbreak of the war, ànd his Russsian nationality] and to become involved in some revolutionary artistic activities because of his reputation as a revolutionary in the arts. In any case, he left Russia as soon as an opportunity arose. But we had parted, by that time, and I prefer not to express any opinion on Kandinsky's later ideas and beliefs, with which I was never familiar.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), pp. 118-119

War, Art, Idea, Thinking

“Recently I dreamed of you [of the artist Herman van der Weele and his wife] and that you two were very rich and lived in a beautiful place and that I sat in your room with you and Herman, with beautiful fabrics and wallpapers that I couldn't stop looking to them and you wore black glasses, just like me now [to protect his eyes], but they [black glasses] were so amazingly beautiful and they suited you so well, as is only possible in a dream, and your dress was beautifully deep red blue black with exotic figures woven into it and the walls were yellow and pink. Anyway it was all a miracle of beauty and I wished that.... my eyes were healthy again and that we each could spent hundred thousand guilders a week, then we had built a beautiful yacht and we all sailed to the country of the Mikado [Japan], to have a look there.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch / citaat uit de brief van Breitner, in het Nederlands: Laatst heb ik van jelui [de kunstenaar Herman van der Weele en zijn vrouw] gedroomd en dat jelui heel rijk waren en prachtig woonden en dat ik met U en Herman in een vertrek daarvan zat, met zulke prachtige stoffen en behangen, dat ik mij niet kan verzadigen er naar te kijken en gij hadt een zwarte bril op net als ik nu, maar die was zo verbazend mooi en stond U zoo goed, als dat alleen maar in een droom mogelijk is en uw costuum was prachtig diep rood blauw zwart met exotische figuren daarin geweven en de wanden waren geel en rose, enfin het was een wonder van pracht en ik wou dat.. ..mijn oogen weer heel waren en dat we ieder honderdduizend gld in de week te verteren hadden, dan lieten we een mooi jacht bouwen en zeilden allemaal naar het land van den Mikado, om daar eens te kijken.
Quote of Breitner, in a letter to Herman van der Weele, c. 1892-96; as cited in Meisjes in kimono. Schilderijen, tekeningen en foto's van George Hendrik Breitner (1857-1923) en zijn Japanse tijdgenoten, J.H.G. Bergsma & H. Shimoyama; Hotei Publishing, Leiden 2001, pp. 15-16
1890 - 1900

Beauty, Dreams, Country

“[I'm] a sponge, the more I absorb, the more I am able to articulate my vision, as artists do, like Picasso. I'm an artist in that light. I went from being an artist to an artiste.”

Usher (1978) American singer, songwriter, dancer and actor

From " Usher ‘experimental’ in relationships http://www.music-news.com/shownews.asp?H=Usher-%EF%BF%BDexperimental%EF%BF%BD-in-relationships&nItemID=52417", Q Magazine (May 25, 2012).

Light

“I recommend [the students] that you should work actively at the Hermitage and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote in a letter of Malevich to his student Yudin, summer of 1924; as quoted in Marc Chagall – the Russian years 1906 – 1922, ed. By Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 66
1921 - 1930

Study

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Art, Nature, Thinking, Sense

“I think we were all more interested in being honest than in being modern. That's why there could be such great differences between the styles of the various members of our group... They had great faith in each other. I think that each of them knew that the other, as an artist, was absolutely honest. Whenever Kubín came to Munich from his nearby country retreat, they [Kandinsky and Kubin] spent many hours together, and I wish I had been able to take down in shorthand some of their conversations. Their ideas about art and life were so different.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 118

Life, Faith, Art, Idea

“Pollock.... left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York].... Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.... All will become materials for this new concrete art.”

Allan Kaprow (1927–2006) American artist

In his essay 'The legacy of Jackson Pollock', published in 'ARTnews', Fall of 1958; as quoted by Christina Bryan Rosenberger, in 'Drawing the Line: The Early Work of Agnes Martin', Univ. of California Press, July 2016, p 121
this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism

Life, Food, Dogs, Art

“Our experiments [the artists of 'Cobra'] the aim at letting thought express itself spontaneously without the control which reason represents. By means of this irrational spontaneity we get closer tot the vital source of life. Our goal is to liberate ourselves from the control of reason which has been and still is the thing which the bourgeoisie has idealized to seize control of life.”

Asger Jorn (1914–1973) Danish artist

1949 - 1958, Speech to the Penguins' (1949)

Life

“lf l am not mistaken, the words "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade.”

M. C. Escher (1898–1972) Dutch graphic artist

1950's, On Being a Graphic Artist', 1953

Art

“Raw artistic talent is abundant. What is truly rare are the cultural circumstances, attitudes, and institutions to develop and perfect it. Few American cities have ever managed to foster a vibrant literary milieu of international significance — perhaps only Boston, New York, Chicago, and San Francisco. American literature has most often been an affair of isolated genius or small coterie.”

Dana Gioia (1950) American writer

"Fallen Western Star," http://www.danagioia.net/essays/ewestern.htm Denver Quarterly (Fall 1998) Essays

Literature, Perfection

“But we had no contact with the painters of the Dachau and Worpswede School [where a. o. Paula Modersohn-Becker was settled as starting woman artist]. It was only much later, for instance, that we discovered that Hoelzel had already been experimenting with non-objective compositions as early as 1908. We [the Blaue Reiter artists] were only a group of friends who shared a common passion for painting as a form of self-expression.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

School, Passion, Painting

“Until such time as logic and objective research concerning the relative efficiency of the various possibilities is undertaken, the cartographer can but rely on the experience and direction of the artist.”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 70

Time

“An artist is a deception.... an artist is only an artist at certain times, by an effort of will.... the study of nature is a cliché; isn't Manet the living proof? For although he prided himself on slavishly copying nature, he was the most inadequate painter in the world, not making a single brushstroke without reference to the old masters; for instance, he refrained from drawing fingernails because Frans Hals did not draw them.”

Edgar Degas (1834–1917) French artist

Quote of Degas, in his talk with the visiting Mallarmé, 1880's; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234
1876 - 1895

World, Nature, Effort, Study

“Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance... It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them... It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'... It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's

Life, Art, Thinking, Reality

“We speak of concrete and not 'abstract painting', because we have finished with the period of research and speculative experience. In their search for purity artists were obliged to abstract from 'natural forms' in which the plastic elements were hidden, in order to eliminate natural forms and to replace them with 'artistic forms'. To-day the idea of 'artistic form' is as obsolete as the idea of 'natural form'. We establish the period of pure painting by constructing 'spiritual form.”

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

Creative spirit becomes concrete.
Quote on 'Concrete art', in: 'Comments on the basic of concrete painting', Paris, January 1930; 'Art Concret', April 1930, pp. 2–4
1926 – 1931

Search, Idea, Nature, Painting

“As struggles go, being an artist isn't that much of one.”

Brian Eno (1948) English musician, composer, record producer and visual artist

October 25, 1995, p. 233
A Year With Swollen Appendices (1996)

“I think the main thing is that I very rarely recognise the actual interview in print. To me, it's like being painted by an artist. And then you see the picture, and they've painted someone else.”

Morrissey (1959) English singer

From Oor magazine (February 1987)
In interviews etc., About interviews

Thinking, Painting

“The Wahabis, followers of a fanatical Moslem heresy, had imposed their strict rules on easy and civilized Kasim. In Kasim there was but little coffee-hospitality, much prayer and fasting, no tobacco, no artistic dalliance with women, no silk clothes, no gold and silver head-ropes or ornaments. Everything was forcibly pious or forcibly puritanical.
It was a natural phenomenon, this periodic rise at intervals of little more than a century, of ascetic creeds in Central Arabia. Always the votaries found their neighbours' beliefs cluttered with inessential things, which became impious in the hot imagination of their preachers. Again and again they had arisen, had taken possession, soul and body, of the tribes, and had dashed themselves to pieces on the urban Semites, merchants and concupiscent men of the world. About their comfortable possessions the new creeds ebbed and flowed like the tides or the changing seasons, each movement with the seeds of early death in its excess of Tightness. Doubtless they must recur so long as the causes — sun, moon, wind, acting in the emptiness of open spaces, weigh without check on the unhurried and uncumbered minds of the desert-dwellers.”

T. E. Lawrence book Seven Pillars of Wisdom

Source: Seven Pillars of Wisdom (1922), Ch. 24

Death, Women, Men, World

“The first and foremost critic of a work of art is the artist who created it. Give him every means to illustrate it and make it known. If an artist awaits celebrity or gratefulness for his work through other people, he will have the time to die a thousand times for sheer hunger.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

p 97.
So I think, so I paint (1947)

Hunger, People, Art, Time

“I am not a 'book of the month' artist, and I do not paint pretty pictures; but when I am no longer here my name will register forever in the history of American art.”

Marsden Hartley (1877–1943) American artist

In a letter to his sister at the end of his life; as quoted in 'The return of the Native' by Joseph Phelan, Artcyclopedia online
1931 - 1943

Books, Art, History, Painting

“The great artists are the ones who dare to entitle to beauty things so natural that when they’re seen afterward, people say: Why did I never realize before that this too was beautiful?”

André Gide book The Immoralist

Source: The Immoralist (1902), p. 159

People, Beauty, Nature

“If nobody likes your work, you have to go on just for the sake of the work. And you're in no danger of letting the public make you repeat yourself. Every artist ought to pray that he may not be "a success". If he's a failure he stands a good chance of concentrating upon the best work of which he's capable.”

Gustav Holst (1874–1934) English composer

Remark to Clifford Bax, reported in Imogen Holst Gustav Holst: A Biography (1969) p. 81.

Failure, Chance, Success

“I haven't found it difficult because I find this very enjoyable. It's really challenging. And I'm really proud of the record because it's a really good record. There's nothing harder than to write a pop record with meaning. I think it's much easier to be alternative. It's much easier to be different and take a different path outside of a commercial context. To try and write a pop song that is not cliché, to try and write a pop song that has meaning and fits in under three minutes and five seconds and has a hook that people want to listen to is the most difficult thing in the world to do. So in lieu of that you have to write what you know and what you like, what you're feeling. That's all I can basically do. I don't begrudge the other people that don't write their songs. And I don't judge them. I'd like to see more people writing their own songs, because that's just personally what I like. Just for me, as an artist, so many people only care about being popular right now. Whatever happened to trying to write a song that means something? When I was growing up, artists meant something. They had opinions, they looked different than the person working at the store on your street. They opened your eyes and taught you something about life. And I would like to aspire to be that kind of artist.”

Colleen Fitzpatrick (1972) American singer and actress

When asked about writing her own music
Attributed

Life, People, World, Feeling

“It was pretty clear to me and to them. I mean, most of my family are artists; my grandma, she’s a painter and she sleeps during the day and paints all night; she has all these health problems but she’s a devoted and committed artist. I was on the phone with her this morning and she said the best thing which was, ‘I’m in my second childhood, I should enjoy it.’ She’s in her 90s.”

Zoey Deutch (1994) American actress

Interview with Wonderland Magazine https://www.wonderlandmagazine.com/2017/07/14/zoey-deutch/

Health, Family, Problem, Sleep

“Are you sure,' she asked, 'that it is God whom you serve?'
The Cardinal looked up, met her eyes and smiled very gently.
'That,' he said, 'that, Madame, is a risk which the artists and the priests of this world have to run!”

Karen Blixen book Last Tales

"The Cardinal's First Tale"
Last Tales (1957)

God, World, Smile

“The arts alone give direct access to experience. To eliminate them from education - or worse, to tolerate them as cultural ornaments - is antieducational obscurantism. It is foisted on us by the pedants and snobs of Hellenistic Greece who considered artistic performance fit only for slaves…”

Peter F. Drucker (1909–2005) American business consultant

Source: 1930s- 1950s, Landmarks of Tomorrow: A Report on the New 'Post-Modern' World (1959), p. 144

Education, Art

“Talk not so much, then, young artist, of the great old masters, who but painted and chisell’d. Study not only their productions. There is a still higher school for him who would kindle his fire with coal from the altar of the loftiest and purest art. It is the school of all grand actions and grand virtues, of heroism, of the death of patriots and martyrs — of all the mighty deeds written in the pages of history — deeds of daring, and enthusiasm, devotion, and fortitude.”

Walt Whitman (1819–1892) American poet, essayist and journalist

"Talk to an Art-Union (A Brooklyn fragment)" (1839)

Death, School, Art, History

“No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism [= De Stijl ] – pure plasticity – it’s kind of silly, I think. I mean, not for him, but I think one could spend one's life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now.”

Willem de Kooning (1904–1997) Dutch painter

Quote of De Kooning from an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 49
1960's

Life, Happiness, Age, Idea

“[An artist must apply] his personal faculties to the ideas and the events of the times in which he lives... [A]rt in painting should consist only of the representation of things which that are visible and tangible to the artist. Every age should be represented only by its own artists, that is to say, by the artist who have lived in it. I also maintain that painting is an essentially concrete art form and can exist only of the representation of both real and existing things... An abstract object, not visible, nonexistent, is not within the domain of painting.”

Gustave Courbet (1819–1877) French painter

Quote in an open letter ('Credo'), (Paris, end of December 1861), published in the 'Courier du Dimanche', (addressed to prospective students); as quoted in Letters of Gustave Courbet, transl. & ed. Petra ten-Doesschate Chu, University of Chicago Press 1992, pp. 203-204
1860s

Age, Art, Idea, Time

“What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses — who tend to be shortsighted as far as their own growth is concerned — and that he will transform this energy into tangible architectural form... The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.”

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

Quote from: 'The Club as a social force'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Universe, Past

“I started reading Flaubert's 'Salambô'. The first chapter was very strong. I prefer Flaubert above Zola, the Concourt even more. No doubt you know the Concourts, Edm. and Jules, two brothers. 'Manette Salomon' is one of their most beautiful creations. If you could read that, I believe you do me and yourself a great pleasure. The type of Chassagnol, the man who understands so much about Art - yes, he has the purest ideas on art of all - I find [him] adorable. He understands everything and that's why he can not be an artist himself or the greatest. I recommend that book to anyone, layman or painter and I will buy it myself.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Ik ben begonnen met Flaubert's Salambô te lezen. 't eerste hoofdstuk was verduveld kranig. Flaubert bevalt me beter dan Zola, de Concourt nog meer. Zonder twijfel kent U de Concourt, Edm. en Jules, twee broers. Manette Salomon vind ik een van hun mooiste scheppingen. Als U dat eens las zou U mij en Uzelf geloof ik een groot genoegen doen. De type van Chassagnol de man die zooveel begrijpt van Kunst, ja er 't zuiverste denkbeeld over heeft van allen, vind ik aanbiddelijk. Hij begrijpt alles en kan daardoor zelf geen kunstenaar zijn of de grootste. Ik beveel dat boek aan iedereen aan, leek of schilder en zal 't me koopen. Quote of Breitner in his letter to A.P. van Stolk, 15 Nov. 1881; as cited in Breitner en Parijs – master-thesis 9928758 https://dspace.library.uu.nl/handle/1874/8382], by Jacobine Wieringa, Faculty of Humanities Theses, Utrecht, (translation from the original Dutch, Fons Heijnsbroek) pp. 10-11 before 1890

Pleasure, Books, Beauty, Art

“It is for the artist.... in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.”

James McNeill Whistler (1834–1903) American-born, British-based artist

Propositions, 2
1870 - 1903, The Gentle Art of Making Enemies' (1890)

Painting

“Artists have, for the most part, bound themselves down to follow a blind routine. Noble exceptions, however, have presented themselves. Nicholas Poussin, one of the most profound thinkers, whom the arts have produced, took care to correct and regulate by the antique the proportions which Leon Baptista Alberti and Albert Durer had given from the living model.”

Adolphe Quetelet (1796–1874) Belgian astronomer, mathematician, statistician and sociologist

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)

Art, Parting

“What I want to accomplish artistically amounts to nothing more than fulfilling the promise of the American Revolution.”

L. Neil Smith (1946) American writer

Statement of purpose, L. Neil Smith's "The Webley Page" http://www.lneilsmith.org/

“As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations… for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship… (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro and Dubuffet have also pitched their tents on this borderline and constantly travel from one side tot the other.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 43/44: (1962)

Friendship, Secret, Travel, Feeling

“I am reverential to great stars. I don't want sexual congress with them. The writer in me reveres the artist in them.”

Camille Paglia (1947) American writer

Playboy interview (May 1995)

Star

“The reverse process is extremely important to me — that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words. It is known as a rule in the so-called Germanic art, and through the middle ages heaps of such stories are directly inspired by fantastic images.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter to anthropologist Francis Huxley (1970) - on the relation between words and images
1959 - 1973, Various sources

Age, Art

“If I tend to reread the European past in my own Postmodern image, if I frequently write about Bach and Beethoven in the same ways in which I discuss the Artist Formerly Known as Prince and John Zorn, it is not to denigrate the canon but rather to show the power of music all throughout its history as a signifying practice. For this is how culture always works—always grounded in codes and social contracts, always open to fusions, extensions, transformations. To me, music never seems so trivial as in its 'purely musical' readings. If there was at one time a rationale for adopting such an intellectual position, that time has long since past. And if the belief in the nineteenth-century notion of aesthetic autonomy continues to be an issue when we study cultural history, it can no longer be privileged as somehow true.”

Susan McClary (1946) American musicologist

McClary, Susan (2000), Conventional Wisdom: The Content of Musical Form, p. 186–169. Berkeley: University of California Press. ISBN 0520232089

Music, Way, History, Study

“They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell, ] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie... We broke the ground.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 80.

World, School, Art, Thinking

“.. even happens that each character has to sing a different text, resulting in a chorus. The varied nature of the paintings should be attributed less to the author than to the varies nature of the characters to be portrayed. The author [= Charlotte Salomon] has tried.... to go completely out of herself to allow the characters to sing or speak in their own voices. In order to achieve this, many artistic values had to be renounced, but I hope that.... this will be forgiven.”

Charlotte Salomon (1917–1943) German painter

The author, St. Jean, August 1940/42 Charlotte's 6th introduction page, related to image no. 4155-6 https://charlotte.jck.nl/detail/M004155-fJHM: '..even happens that each character..', p. 46 this quote is written in brush over the whole page of the painting, without any figure Charlotte Salomon - Life? or Theater?

Hope, Nature, Singing, Painting

“Jesus & his apostles & disciples were all artists”

William Blake (1757–1827) English Romantic poet and artist

The Laocoön, p. 271
1800s

“Creativity is not limited to people practising one of the traditional forms of art, and even in the case of artists, creativity is not confined to the exercise of their art. Each one of us has a creative potential, which is hidden by competitiveness and success-aggression. To recognize, explore and develop this potential is the task of the School. Creation – whether it be a painting, sculpture, symphony or novel – involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.”

Heinrich Böll (1917–1985) German author, novelist, and short story writer

Joseph Beuys and Heinrich Böll (1972), cited in: Caroline Tisdall, Joseph Beuys, exh.cat., Solomon R. Guggenheim Museum, New York 1979. p. 278.

People, School, Art, Exercises

Joseph Beuys (1921–1986) German visual artist

Quote of Joseph Beuys and Heinrich Böll (1972), as cited in Joseph Beuys, exh. cat., Caroline Tisdall, Solomon R. Guggenheim Museum, New York 1979. p. 278
1970's

People, School, Art, Exercises

“I was never really affected by it because I don’t have the time to go up to every grime kid and explain the ideology and the lifestyle. It’s too hard…. Look at Afrikan Boy, he still has that problem. You have this talent to see something and articulate something new, but you can’t because the arena to do that doesn’t exist. It’s easier to breed movements in England than really support one artist, especially in urban culture.”

M.I.A. (1975) British recording artist, songwriter, painter and director

Interview http://web.archive.org/web/20080108025702/http://www.rwdmag.com/articles/6188/MIA-Flying-High.html to RWD magazine on the rejection of her first album Arular by the UK grime scene (2007) Sourced quotes

Boy, Support, Problem, Time

“Well, art is not communist -- not bourgeois either
It's no club and has no party line
Not wild nights make an artist -- not drugs or manifestos
It's art -- HA HA -- that's no secret
The one who makes art -- he's the artist..”

Kurt Schwitters (1887–1948) German artist

1920s, Huelsendada', Kurt Schwitters, 1920

Secret, Art, Night

“I think there are too damn many institutions on the face of the earth as it is. Robert Graves said: 'As soon as women organize themselves in the male way with societies, memberships and rules, everything goes wrong.' I think that applies to artists, too. The artist stands for everything against institutions.. [Rosalyn Drexler reacted: 'Institutions and clear thought are opposites. You can't have one with the other']. Right! Institution to me means authority, coercion, mindlessness, bureaucracy; it means the Pentagon, the CIA, the army, organized denominational religion, prisons, mental hospitals.”

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)

Women, Religion, Way, Thinking

“All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 1.

People, Art

“Now, it's just occurred to me that we're missing something crucial. Ah, yes, an artist! Bugg, have we a court artist? We need an artist! Find us an artist! Nobody move!”

Steven Erikson book Dust of Dreams

Dust of Dreams (2009)

“The artist tries to see what there is to be interested in… He has not created something, he has seen something.”

T. E. Hulme (1883–1917) English Imagist poet and critic

Source: Speculations (Essays, 1924)

“If you want to help me, and I know you do, believe in me. And do not help to criticize or break me, as some people do gladly, who are indifferent or hostile [towards me].... You must have faith in me. Believe me. And if you want to believe someone about me, believe an artist, someone like Mesdag or Blommers or Maris [one of Breitner's teachers, c. 1880], but not Kuyper and the likes of him.... and hear what they say and put more value on the talk 'finish better' and 'he is stubborn”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

from people who, let's be honest, actually know nothing about art. (The Hague, 1881)
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Indien U mij wilt helpen en dat weet ik, geloof dan in mij. en helpt niet mee om mij af te breken, dat lieden die of onverschillig zijn of vijandig zoo gaarne doen... ...Gij moet vertrouwen in mij hebben. mij geloven. En als Ge iemand gelooven wilt over mij. geloof dan een schilder iemand als Mesdag of Blommers of Maris, maar geen de Kuyper en consorten... ...en hoor wat ze zeggen en hecht dan nog eenige waarde aan de praatjes van: 'meer af' en: 'hij is koppig' - van lui die goed beschouwd er toch eigentlijk niets van weten. (Den Haag, 1881)
Quote from Breitner's letter to A.P. van Stolk nr. 24, 11 October 1881, (location: The RKD in The Hague); as quoted by Helewise Berger in Van Gogh and Breitner in The Hague, her Master essay in Dutch - Modern Art Faculty of Philosophy University Utrecht, February 2008]], (translation from the original Dutch, Anne Porcelijn) p. 36.
this quote dates from Breitner's period in The Hague, after his Maecenas A.P. van Stolk withdrew his financial support. In his defense, Breitner cites a number of painters from the Hague School he is in contact with and who have already built up a certain reputation.
before 1890

Hostility, People, Faith, Art

“An artist will betray himself by some sort of sincerity.”

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

The Dagger with Wings (1926)

Sincerity

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

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

The Dagger with Wings (1926)

Soul

“Each of us [the Der Blaue Reiter (Blue Rider) artists] was interested in the work of the other members of our group, much as each of us was also interested in the health and happiness of the others. But we were still far from considering ourselves as a group or a school of art... I don't think we were ever as programmatic in out theories, as competitive or a self-assertive, as some of the modern [art] schools of Paris.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

Happiness, Health, School, Art

“Adams proclaimed that in the last synthesis, order and anarchy were one, but that the unity was chaos. As anarchist, conservative and Christian, he had no motive or duty but to attain the end; and, to hasten it, he was bound to accelerate progress; to concentrate energy; to accumulate power; to multiply and intensify forces; to reduce friction, increase velocity and magnify momentum, partly because this was the mechanical law of the universe as science explained it; but partly also in order to get done with the present which artists and some others complained of; and finally — and chiefly — because a rigorous philosophy required it, in order to penetrate the beyond, and satisfy man's destiny by reaching the largest synthesis in its ultimate contradiction. Of course the untaught critic instantly objected that this scheme was neither conservative, Christian, nor anarchic, but such objection meant only that the critic should begin his education in any infant school in order to learn that anarchy which should be logical would cease to be anarchic. To the conservative Christian anarchist, the amiable doctrines of Kropotkin were sentimental ideas of Russian mental inertia covered with the name of anarchy merely to disguise their innocence.”

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

The Education of Henry Adams (1907)

Education, School, Law, Motivation

“We safeguard the right to attribution very strongly. After all, what we are fighting for is the intent of copyright as it is described in the US constitution: the promotion of culture. Many artists are using recognition as their primary driving force to create culture.”

Rickard Falkvinge (1972) former head of the Swedish Pirate Party

Wikinews Interview http://en.wikinews.org/wiki/%22Avast_ye_scurvy_file_sharers%21%22:_Interview_with_Swedish_Pirate_Party_leader_Rickard_Falkvinge (June 20, 2006)

Fight

“A primitive artist is an amateur whose work sells.”

Grandma Moses (1860–1961) American artist

As quoted in Grandma Moses, American Primitive : Forty Paintings (1947) by Otto Kallir

“We write in the language of Dryden and Addison, of Milton and Shakespeare, but the intellectual world we inhabit is that of Flaubert and Baudelaire; it is to them, and not to their English contemporaries, that we owe our conception of modern life. The artist whose reward is perfection and where perfection can be obtained only by a separation of standards from those of the non-artist is led to adopt one of four rôles: the High Priest (Mallarmé, Joyce, Yeats), the Dandy (Firbank, Beerbohm, Moore), the Incorruptible Observer (Maugham, Maupassant) or the Detached Philosopher (Strachey, Anatole France). What he will not be is a Fighter or Helper.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 4: The Modern Movement (p. 30)

Life, World, Perfection

“If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless... In Paris, it seemed to me that I was discovering everything, above all a mastery of technique... It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me... I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface.”

Marc Chagall (1887–1985) French artist and painter

reaction on his first arrival in Paris, 1910
Quote of Chagall in: Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)
1910's

God, People, Unfaithfulness, Art

“Unbecoming to a gentleman, too, and vulgar are the means of livelihood of all hired workmen whom we pay for mere manual labour, not for artistic skill; for in their case the very wage they receive is a pledge of their slavery.”
Illiberales autem et sordidi quaestus mercennariorum omnium, quorum operae, non quorum artes emuntur; est enim in illis ipsa merces auctoramentum servitutis.

Marcus Tullius Cicero (-106–-43 BC) Roman philosopher and statesman

Book I, section 150; translation by Walter Miller
De Officiis – On Duties (44 BC)

“The person who wants nothing, hopes for nothing, and fears nothing can never be an artist.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to A.S. Suvorin (November 25, 1892)
Letters

Fear, Hope, Personality

“I have always said that you do not see a thing until you look away from it. In other words, an object or a fact in nature has not become itself until it has been projected in the realm of the imagination. Therefore what has been retained in the mind’s eye is what lives. I have seldom or never worked from nature for this reason and so what I see is what I believe to be true, and that becomes the truism of the creative artist.”

Marsden Hartley (1877–1943) American artist

Is Art necessary?, unpublished essay, 1942, Hartley Archive, Yale University; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 151
1931 - 1943

Imagination, Nature

“Therefore THE IDEA OF 'ARTISTIC WORK' MUST BE ABOLISHED AS A COUNTER-REVOLUTIONARY CONCEPT OF WHAT IS CREATIVE and work must be accepted as one of the functions of the living human organism in the same way as the beating of the heart or the activity of the nerve centers, so that it will be afforded the same protection.”

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

1915 - 1925, Suprematism' in World Reconstruction (1920)

Way, Idea, Heart

“…good American poets are surprisingly individual and independent; they have little of the member-of-the-Academy, official man-of-letters feel that English or continental poets often have. When American poets join literary political parties, doctrinaire groups with immutable principles, whose poems themselves are manifestoes, the poets are ruined by it. We see this in the beatniks, with their official theory that you write a poem by putting down anything that happens to come into your head; this iron spontaneity of theirs makes it impossible for even a talented beatnik to write a good poem except by accident, since it eliminates the selection, exclusion, and concentration that are an essential part of writing a poem. Besides, their poems are as direct as true works of art are indirect: ironically, these conscious social manifestoes of theirs, these bohemian public speeches, make it impossible for the artist’s unconscious to operate as it normally does in the process of producing a work of art.”

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

“Fifty Years of American Poetry”, pp. 327–328
The Third Book of Criticism (1969)

Art, Feeling, Parting

“Obviously everyone is going to prefer kinds of art. I prefer art that isn't associated with anything and am tired of the various kinds of dada, and don't think, for example, that the work of Johns and Rauschenberg is so momentous. But it's good and I'm not at all inclined to rank them below every last abstract artist. And I know that their work has connections to so-called abstract work. (I don't like the word 'abstract'.) Or, I think American art is far better than that anywhere else but I don't think that situation is desirable. ** Donald Judd, in: Studio International, vol. 177, p. 182: As quoted in: James Meyer (2000) Minimalism. Vol 60 - 83, p. 245”

Donald Judd (1928–1994) artist

1960s

Art, Quotes, Thinking

“Being an artist is being an isolated individual. But the development of the creative foundation of the encumbers the individual artists more and more with the prevailing problems. You are of your time whether you like it or not. Developing ones foundation to an artist means continually revising it. The artistic formulae wear thin quickly and yet daily the artist — when developing his own foundation — must enter his own time and the problems of other contemporary artists. Paths cross and the soil of time is starting to be turned.”

Asger Jorn (1914–1973) Danish artist

Quote in the late 1960s, as cited in Asger Jorn (2002) by Arken Museum of Modern Art, p. 28
1959 - 1973, Various sources

Problem, Time

“Has the artist ever considered the history of the "chop" which is brought so elegantly to his studio? … He has first employed a slaughterman … to convert a beautiful living creature into a hideous carcase, to be displayed with other carcases in that ugliest product of civilisation, a butcher's shop, and then he has employed a cook to conceal, as far as may be, the work of the slaughterman. This is what the Spectator calls being "humanised" by schools of cookery; I should call it being de-humanised.”

Henry Stephens Salt (1851–1939) British activist

The Humanities of Diet

School, Beauty, History, Cooking

“Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 273, "Being Outside"

Art, Memory, Future, Personality

“Mathematics is too arduous and uninviting a field to appeal to those to whom it does not give great rewards. These rewards are of exactly the same character as those of the artist. To see a difficult uncompromising material take living shape and meaning is to be Pygmalion, whether the material is stone or hard, stonelike logic. To see meaning and understanding come where there has been no meaning and no understanding is to share the work of a demiurge. No amount of technical correctness and no amount of labour can replace this creative moment, whether in the life of a mathematician or of a painter or musician. Bound up with it is a judgement of values, quite parallel to the judgement of values that belongs to the painter or the musician. Neither the artist nor the mathematician may be able to tell you what constitutes the difference between a significant piece of work and an inflated trifle; but if he is not able to recognise this in his own heart, he is no artist and no mathematician.”

Norbert Wiener (1894–1964) American mathematician

Ex-Prodigy: My Childhood and Youth (1964)

Life, Mathematics, Understanding, Heart

“To begin again at the beginning in a proper philosophical manner, one person is a unity, and somehow, after the long complex process, a work of art is a similar unity. But the person is fairly unintelligible and the art is intelligible. Primarily what is intelligible is the nature of the artist, either of the past or now. The interests, thought and quality of the artist make the final total quality of the work.”

Donald Judd (1928–1994) artist

Donald Judd (1983) in: Donald Judd (1987) Complete writings, 1975-1986. p. 28 ; Quoted in: " Archives http://www.juddfoundation.org/archives" at juddfoundation.org, 2014 1980

Art, Intelligence, Nature, Past

“It’s been my great fortune to be surrounded by people that have reminded me of how important process is, not outcome. When you’re an actor, or really an artist of a collaborative form, you have so little control of the outcome. And if you are only focused on that…it won’t turn out well. If you’re focused on the outcome, chances are you’re focused on people’s perceptions of the outcome—how much money something makes, how it looks, rather than how it feels. And I think that has been the most valuable—one of the most valuable—lessons I’ve learned is to really appreciate, recognize, and practice the process, not the outcome.”

Zoey Deutch (1994) American actress

Interview with Coveteur Magazine, 2018 http://coveteur.com/2018/05/14/zoey-deutch-talks-beauty-secrets-career/

Money, People, Feeling, Thinking

“I was been raised to believe I was an artist. I believed what my parents said and fulfilled it, like a prophecy.”

Ariel Pink (1978) American musician

Before Today you may have considered Ariel Pink quite kitsch http://www.guardian.co.uk/music/2010/jul/10/ariel-pink-chillwave-haunted-graffiti?ref=nf (July 10, 2010)

Parent

“It seems to be the easiest thing in the world these days to make scurrilous accusations against Muslims, and in my case it directly impacts on my relief work and damages my reputation as an artist. The harm done is often difficult to repair.”

Cat Stevens (1948) British singer-songwriter

As quoted in "Singer Islam gets libel damages" BBC News (15 February 2005) http://news.bbc.co.uk/2/hi/uk_news/4268651.stm

World

“Speaking involves inflection, it involves an understanding of the language. Too many young people today play their instruments most wonderfully – they have such command of their instrument – but it’s as though they’re speaking a foreign language, phonetically. They pronounce all the words, but they have no idea of what they’re saying. And I think that’s one of the big differences between the great artists of the time and this level of expertise that is constantly expanding and rising. As I’ve said for a long time, the level of mediocrity is constantly rising.”

Leon Fleisher (1928) American conductor and pianist

Interview with pianist Leon Fleisher http://www.examiner.com/article/interview-with-pianist-leon-fleisher by Elijah Ho (October 1, 2014)

People, Idea, Understanding, Thinking

Quotes about artist page 15

Quotes about artist
page 15