Quotes about artist
page 18

“Few artists were ever fully well, so it is no great trick to prove them ill. There are commentators who can't get interested in Caravaggio until they find out he killed someone. They are only one step from believing that every killer is Caravaggio.”

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

'Georg Christoph Lichtenberg', p. 395
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

“The Pop artists did images that anybody walking down Broadway could recognize in a split second – comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles – all the great modern things that the Abstract Expressionists tried so hard not to notice at all.”

Andy Warhol (1928–1987) American artist

1960's
1975 - 1987

Men

“Gradually we began [ De Stijl-artists in The Netherlands, 1918] to present a closed front. By working there had been created not only a clarity in the collective consciousness of our group, but we had gained a certainty, which made it possible for us to define our collective attitude towards life and to perpetrate it according to the requirements of the period... As the world war [ World War I ] was coming to an end, we all came to feel the need of securing an interest in our efforts beyond the narrow boundaries of Holland.”

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

Quote in Neue Schweizer Rundschau, 1929, p. 172 (Van Doesburg); as quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01_0003.php, J.M. Meulenhoff, Amsterdam, 1956, p. 17 Van Doesburg is looking back on the starting years of De Stijl-movement 1926 – 1931

Life, War, World, Feeling

“In a certain sense the phrase "I am still alive" can never be sent as it cannot be received by the addressee instantaneously…It is only valid at the very instant that it is being written, and in the very next second it no longer is a certainty. If the addressee receives the telegram a few hours or days later and reads it, he merely knows that the sender was alive at the very instant the telegram was sent. But when he is reading the telegram, he is totally uncertain if the content of the text is still relevant or if it is still valid The difference, the small displacement between sending and receiving, is that particular unseizable glimpse of the presence of the artist. Likewise, it is a sentence of self-reassurance…"I am still alive."”

On Kawara (1933–2014) artist

The activity of telling oneself and the world "I am still alive." On Kawara, "1970 Telegram," as cited in: " On Kawara Today http://greg.org/archive/2014/07/10/on_kawara_today.html," By greg on July 10, 2014 8:27 PM.

World, Sense, Reading

“Being an artist means seeing things and never having the ability to shut your eyes.”

Keariene Muizz (1977) American artist

Associated Press (2008); from an interview conducted by John Rogers.

“To summarize: We have seen that computer programming is an art, because it applies accumulated knowledge to the world, because it requires skill and ingenuity, and especially because it produces objects of beauty. A programmer who subconsciously views himself as an artist will enjoy what he does and will do it better. Therefore we can be glad that people who lecture at computer conferences speak of the state of the Art.”

Donald Ervin Knuth (1938) American computer scientist

Source: Computer Programming as an Art (1974), p. 673 [italics in source]

People, World, Beauty, Art

“Who has studied the works of such men as Euler, Lagrange, Cauchy, Riemann, Sophus Lie, and Weierstrass, can doubt that a great mathematician is a great artist? The faculties possessed by such men, varying greatly in kind and degree with the individual, are analogous with those requisite for constructive art. Not every mathematician possesses in a specially high degree that critical faculty which finds its employment in the perfection of form, in conformity with the ideal of logical completeness; but every great mathematician possesses the rarer faculty of constructive imagination.”

E. W. Hobson (1856–1933) British mathematician

Source: Presidential Address British Association for the Advancement of Science, Section A (1910), p. 290. ; Cited in: Moritz (1914, 184): Mathematics as a fine art.

Men, Art, Imagination, Study

“It is, of course, a common prejudice that censorship is bad for art and therefore always unjustified: though, if this were so, mankind would have little in the way of an artistic heritage and we should now be living in an artistic golden age.”

Theodore Dalrymple (1949) English doctor and writer

What’s Wrong with Twinkling Buttocks? http://www.city-journal.org/html/13_3_oh_to_be.html (Summer 2003). City Journal (1998 - 2008)

Age, Art, Way

“No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of æsthetic, not merely historical, criticism.”

T.S. Eliot book Tradition and the Individual Talent

Tradition and the Individual Talent (1919)

Art, Dead

“A highly developed moral nature joined to an undeveloped intellectual nature, an undeveloped artistic nature, and a very limited religious nature, is of necessity repulsive. It represents a bit of human nature — a good bit, of course, but a bit only — in disproportionate, unnatural and revolting prominence.”

Walter Bagehot (1826–1877) British journalist, businessman, and essayist

Wordsworth, Tennyson and Browning
Literary Studies (1879)

Nature

“He knew that the world, and Annie as the representative of the world, whatever praise might be bestowed, could never say the fitting word nor feel the fitting sentiment which should be the perfect recompense of an artist who, symbolizing a lofty moral by a material trifle,—converting what was earthly to spiritual gold,—had won the beautiful into his handiwork. Not at this latest moment was he to learn that the reward of all high performance must be sought within itself, or sought in vain.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"The Artist of the Beautiful" (1844)

World, Beauty, Feeling, Learning

“Taste was his world. Rilke behaved as if art were taste elevated to the highest possible degree. The armigerous chatelaines who played hostess were happy to believe it, since the idea made them artists too.”

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

Sergei Diaghilev, p. 172
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Happiness, World, Art, Idea

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Art, Color, Idea, Question

“I foresee a universal information system (UIS), which will give everyone access at any given moment to the contents of any book that has ever been published or any magazine or any fact. The UIS will have individual miniature-computer terminals, central control points for the flood of information, and communication channels incorporating thousands of artificial communications from satellites, cables, and laser lines. Even the partial realization of the UIS will profoundly affect every person, his leisure activities, and his intellectual and artistic development. … But the true historic role of the UIS will be to break down the barriers to the exchange of information among countries and people.”

Andrei Sakharov (1921–1989) Soviet nuclear physicist and human rights activist

Progress, Coexistence and Intellectual Freedom (1968), The Human Rights Movement (1969-1979)

People, Books, Communication, Universe

“Decade after decade, artists came to paint the light of Provincetown, and comparisons were made to the lagoons of Venice and the marshes of Holland, but then the summer ended and most of the painters left, and the long dingy undergarment of the gray New England winter, gray as the spirit of my mood, came down to visit.”

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

Timothy Madden, in Tough Guys Don't Dance (1984), Ch. 1

Mood, Light, Winter, Summer

“I never worked with T. I. Here's the back story to that Wikipedia nugget: I was a guest on TRL and happened to get my hands on the list of goofy, un Andrew-Miller-like questions I was going to be asked before I walked on set. One of the questions was "Who do you like more, T. I. or [I forgot the other southern rap artist]?" So I snuck to the bathroom and searched "T. I." on my Blackberry. I memorized as much information as I could and then announced that we were working together.”

John Mayer (1977) guitarist and singer/songwriter

On how rumors got started that he was working with rapper T.I. (and how they made it to Wikipedia). Mayer, John (2007). "10 ANSWERS FOR ANDREW MILLER" http://www.johnmayer.com/blog#274 JohnMayer.com (accessed January 25, 2007)

Search, Question

“Imagination is the manipulation of images in one's head… the rational manipulation… as well as the literary and artistic manipulation.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

"The Reach of Imagination" (1967)

Imagination

“The review was more a satisfaction to me than a joy. Joy, overpoweringly beautiful moments, comes to an artist without other noticing. The same is true for moments of sadness. That's why it is true that artists live mostly in solitude... Otto [Modersohn] and I shall be coming home [ Worpswede ] again in the spring. That man is touching in his love. We are going to try to buy the Brünjes place in order to make our lives together freer and more open... If the dear Lord will allow me once again to create something beautiful, then I shall be happy and satisfied; if only I have a place where I can work in peace. I will be grateful for the portion of love I've received. If one can remain healthy and not die too young..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Paris, 18 November 1906, to her sister Milly; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 206
1906 + 1907

Love, Happiness, Sadness, Peace

“There is, I think, no more nutritive or suggestive truth… than that of the perfect dependence of the "moral" sense of a work of art on the amount of felt life concerned in producing it. The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs.”

Henry James book The Portrait of a Lady

The Portrait of a Lady.
Prefaces (1907-1909)

Life, Truth, Art, Spring

“When I was at school, on certain afternoons we all had to do what was called Labour — weeding, sweeping, sawing logs for the boiler-room, that sort of thing; but if you had a chit from Matron you were let off to spend the afternoon messing about in the Art Room. Labour or Art. And you've got a chit for life? Where did you get it? What is an artist? For every thousand people there's nine hundred doing the work, ninety doing well, nine doing good, and one lucky bastard who's the artist.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

Life, People, School, Art

“[On his work appearing on the Internet] It's a conflicted feeling. I'm really a populist, down in the very center of me. I like the power people can accrue for themselves, and I like the idea of user-generated content and taking power from the corporations. The other half of the conflict, though, is that, traditionally speaking, artists are protected from copyright infringement. Fortunately, I don't have to worry about solving this issue. It's someone else's job.”

George Carlin (1937–2008) American stand-up comedian

Las Vegas CityLife, August 9, 2007 http://www.lvcitylife.com/articles/2007/08/10/ae/stage/iq_15893857.txt Interviews, Print Interviews

People, Feeling, Idea, Appearance

“Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.”

Willa Cather (1873–1947) American writer and novelist

"Light on Adobe Walls"
Willa Cather on Writing (1949)

Truth, Art, Feeling, Imagination

“What should have occurred after the fall of the Berlin Wall? For almost 50 years, America had sacrificed its wealth and at times the lives of its young, to contain armed communism. Its brave pilots risked their lives by skimming the hills of Western Europe to the great annoyance of German picnickers whose liberty depended, in fact, on such sacrifice. Its submariners left behind comfort, family, and friends, to make full deterrents real. Its men and women in uniform stood at places of peril, willing to risk their lives for our liberty. The West did whatever it had to do to prevent the armed Bolsheviks from achieving tactical or strategic superiority. It sustained its will and its great burden of debt even when its artists, college students, professors, authors and filmmakers, turned against the alleged folly of such efforts. It obsessed on communism and anti-communism; it was haunted by its own and its enemy's bombs, missiles, and nuclear strategies. This was the burden it chose to bear. And then, in a seeming miracle, the fatal weaknesses of tyranny, central planning, and il-liberalism, at a moment of American will, were actualized in the collapse of European communism. Now we could assess and do a real accounting of what we had fought to preserve and to prevent.”

Alan Charles Kors (1943) American academic

2010s, Socialism's Legacy (2011)

Women, Men, Family, Communication

“In our own time, every earthenware vessel or piece of jewelry, every utensil or garment, has to be designed on paper before it is made. Primitive peoples, however, create their works with the material itself in the artist's hand, held in his fingers. They aspire to express delight in form and the love of creating it. Absolute originality, the intense and often grotesque expression of power and life in very simple forms – that may be why we like these works of native art.”

Emil Nolde (1867–1956) German artist

6.
1900 - 1920, On Primitive Art – Emil Nolde, 1912

Love, Life, People, Art

“The album is very different from the all the other albums today. First of all, the album was one year delayed because I wasn’t happy and every time I did an album it was unofficially finished. I had some time to listen to some new songs and plug into some music programs and discovered this new song and delayed the release for a month, because I wanted to update the new tracks to these new sounds I found… so then when I did that all the other songs sounded like crap compared to the new ones! So I said f*** this I need to reproduce the other ones as well. Then I scrapped a few songs and produced new ones. So to produce this album I pretty much produced maybe about 50 tracks and picked out the best of them. You know when you buy an album from a producer/artist, you kind of hear the same sound repeating in each song, you hear the same sound repeating, but this album is like every song is individual. Like you wont find two songs which have the same sound. Each song is completely different which I think kind of represents what I do because I produce everything and I love producing everything. Sometimes I’m in the mood to produce you know a dance song, sometimes I’m in the mood to produce an R&B song, it’s just interesting because I just want to show people that I can deliver to all ears.”

Basshunter Calling Time

Guestlist interview with Ria Talsania (10 July 2013) https://guestlist.net/article/9219/catching-up-with-basshunter Calling Time

Love, Happiness, People, Music

“Self-pity is an ignoble emotion, but we all feel it, and the orthodox critical line that it represents some kind of artistic flaw is dubious, a form of emotional correctness.”

Nick Hornby book Songbook

Songbook (2003)

Feeling

“I was with this guy who was a plasterer, and at lunchtime he was eating a stuffed heart… I was thinking, "I'm not like these guys. I'm an artist." And I saw a bee come over to some flowers and get all the pollen out. I was looking and thinking, "How does it do that?" And then the guy who was eating the stuffed heart said, "How does that bee do that?"”

Damien Hirst (1965) artist

Beckett, Andy. "Arts: A Strange Case" http://findarticles.com/p/articles/mi_qn4158/is_19951112/ai_n14017521/pg_5?tag=artBody;col1, The Independent, 12 November 1995 Talking about when he worked as a builder after college

Guy, Flowers, Thinking, Bee

“It is, of course, a luxury to create art and, on top of this, to insist on expressing one's own artistic opinion. Nothing is more luxurious than this. It is a game and a good game, at least for me; one of the few games which make life, difficult and depressing as it is sometimes, a little more interesting.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

1930s, On my Painting (1938)

Life, Art, Game

“He maintains that culture shows itself above all else in a unity of artistic style running through every expression of a nation's life. On the other hand, the fact of having learnt much and knowing much is, as he points out, neither a necessary means to culture nor a sign of culture; it accords remarkably well with barbarism, that is to say, with want of style or a motley hotchpotch of styles.”

Georg Brandes (1842–1927) Danish literature critic and scholar

On Friedrich Nietzsche's views on culture, p. 6
An Essay on Aristocratic Radicalism (1889)

Life

“Just as the spinning and gathering of wool serve as the raw material for a weave, so the artist working with video selects images to serve as the basic substance of the work. All technology, in its capacity to instantly reproduce, store, and retrieve information, has moved continually in a direction that seeks to free us from laboring with our hands by giving us greater conceptual freedom to organize, select, and judge.”

Beryl Korot (1945) American artist

Source: Dachau 1974, by Beryl Korot, p. 76

Freedom

“T. S. Eliot said it is no business of the artist to think. I presume he meant it's only the business of the artist to feel, but I like the notion of there being a mind behind the fiction that I read and that I write.”

John Banville (1945) Irish writer

John Banville: claiming Kafka as an Irish writer (2011)

Feeling, Business, Thinking, Reading

“Art is created in a state of delirium. Anyting else is the restoration of monuments. Collectors are artist that do not have a home. they have to make one for themselves.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 226 (2003)

Art, Home

“Men may be divided into two types: men of words and men of action. The first speaks; the latter act. I am of the second group. I lack the means to express myself adequately. I would not be able to explain to anyone my artistic concepts. I have not yet concretised them. I never had time to reflect on them. My hours have been spent in my work.”

Antoni Gaudí (1852–1926) Catalan architect

La Razón, 1913 in: Gaudi by Gijs Van Hensbergen, introduction p.xxxii http://books.google.com/books?hl=en&id=unF5kAX0xCwC&dq=Gaudi+on+Gaudi&printsec=frontcover&source=web&ots=c0iOxQzVGj&sig=88zRY-TOlnChRUBQTHzDnrtLDEs&sa=X&oi=book_result&resnum=3&ct=result#PPR32,M1

Men, Time

“I believe dreams connect us to our ancestors and it is through creativity that we can tap into this in the conscious state. Creativity is a sort of trance that we have as artists that erases time and space.”

Lorin Morgan-Richards (1975) American poet, cartoonist, and children's writer

Regarding his ancestry influencing his work; as quoted in "Americymru" http://americymru.blogspot.com/2010/08/interview-with-lorin-morgan-richards.html "An Interview With Lorin Morgan-Richards” (25 August 2010).

Dreams, Time

“Loss is not without its curious advantages for the artist. Major traumatic breaks are pretty common in the biographies of artists I respect.”

William Gibson (1948) American-Canadian speculative fiction novelist and founder of the cyberpunk subgenre

Interview in The New York Times Magazine (19 August 2007)

Loss

“It is no coincidence that while some major female artists have married, very few have borne children. The issue is not conservation of energy but imaginative integrity. Art is its own self-swelling, proof that the mind is greater than the body.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 660

Children, Art, Imagination

“For as long as I can remember,' I said, continuing to speak to the figure standing in the archway, 'I have had an intense and highly aesthetic perception of what I call the icy bleakness of things. At the same time I have felt a great loneliness in this perception. This conjunction of feelings seems paradoxical, since such a perception, such a view of things, would seem to preclude the emotion of loneliness, or any sense of a killing sadness, as I think of it. All such heartbreaking sentiment, as usually considered, would seem to be on its knees before artworks such as yours, which so powerfully express what I have called the icy bleakness of things, submerging or devastating all sentiment in an atmosphere potent with desolate truths, permeated throughout with a visionary stagnation and lifelessness. Yet I must observe that the effect, as I now consider it, has been just the opposite. If it was your intent to evoke the icy bleakness of things with your dream monologues, then you have totally failed on both an artistic and an extra-artistic level. You have failed your art, you have failed yourself, and you have also failed me. If your artworks had really evoked the bleakness of things, then I would not have felt this need to know who you are, this killing sadness that there was actually someone who experienced the same sensations and mental states that I did and who could share them with me in the form of tape-recorded dream monologues. Who are you that I should feel this need to go to work hours before the sun comes up, that I should feel this was something I had to do and that you were someone that I had to know? This behavior violates every principle by which I have lived for as long as I can remember. Who are you to cause me to violate these long-lived principles?”

Thomas Ligotti (1953) American horror author

The Bungalow House

Truth, Sadness, Dreams, Art

“I was quite active politically just previous to this, and I'm leading into this time when I was on WPA and there was a group called the Artist's Union which was organized, so that I was extremely active in that. Again that meant more meetings and fighting for artists' rights on the WPA... I would say it gave me an opportunity to continue through a period of where one had a livelihood to deal with and/or painting. This allowed for painting and I'd say in that sense it was extremely influencing.... WPA itself ended after the War Service Project and by way of terminating, it allowed you to take one of several war courses that were being offered. After which you were supposed to be able to go into that field and earn a living. I took drafting.”

Lee Krasner (1908–1984) American artist

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

War, Way, Sense, Time

“The survival of artistic modes in which we recognize ourselves, identify ourselves and place ourselves will survive as long as humanity survives.”

M. H. Abrams (1912–2015) American literary theorist

On the "death of literature"
Cornell Chronicle interview (1999)

“When . . . some leisurely passer-by stopped . . . and spoke of cheating, that was in its way the stupidest lie ever invented by indifference and inborn malice, since it was not the hunger artist who was cheating, he was working honestly, but the world was cheating him of his reward.”

Franz Kafka (1883–1924) author

"A Hunger Artist"
The Complete Stories (1971)

Hunger, Lie, World, Way

“.. translated by instinct, without any method, not merely an artistic truth but above all a human one.”

Maurice de Vlaminck (1876–1958) French painter

Quote of De Vlaminck; as cited in Les Fauves, The Museum of Modern Art; Simon & Schuster, New York, 1952; quoted in 'Becoming an Artist' on Widewalls https://www.widewalls.ch/artist/maurice-de-vlaminck/ Quotes undated

Truth

“Our civilization is in a continuous state of self-repair. Maybe you have undergone surgery once. In former times you might have died. Today everybody can live on and on; everything around us is repaired, even the spirit. Look at the young artists. They only paint the facade and not the things hidden behind it. I don't say that life is lost its originality. I show straightforwardly the state of repair of civilization.”

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

Appel is referring to his sculpture 'State of liberty'
Source: Karel Appel – the complete sculptures,' (1990), p. 85 'Quotes', K. Appel (1989)

Life, Time, Painting

“Whatever the apparent aim of the artist, he is called upon first to move the spectator, after having been himself struck by a design or color composition which may or may not have a relation to natural objects. His predilections, his preferences, crystallize afterwards in the choice of means to interpret those natural objects; these means are always, obligingly, of imaginary essence.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 429
1940 - 1960

Color, Nature

“With more mainstream filmmaking, the problem is who’s making the decisions. They’re not artists. The key creative decisions are being made by lawyers and accountants—that’s a very precarious situation. It’s precarious because it really does matter. Icons are being made and manufactured. People say it’s just a movie—but it’s not.”

Jennifer Beals (1963) American actress and a former teen model

Detours Interview (1995) http://www.jennifer-beals.com/media/press/detours1.html/

People, Problem, Decision

“The moral hero, guided as he or she is by the ethical experience, who carves out an adventurous path is akin to the discoverer who brings order into the scattered elements of a science or the artist who composes a piece of music or designs buildings.”

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

Internet Encyclopedia of Philosophy

Music, Science

“An artist’s life is all very fine and moving. But only in retrospect. In books.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Life, Books

“The role of the artist is to create an Anti-environment as a means of perception and adjustment.”

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

Source: 1990s and beyond, The Book of Probes : Marshall McLuhan (2011), p. 31

“The power of the average pop artist and her products lies in the pornography that is her 'art,' in her hackneyed political posturing, and in the fantastic technology that is Auto-Tune (without which all the sound you'd hear these 'singers' emit would be a bedroom whisper).”

Ilana Mercer South African writer

" Harvey Sweinstein And Hollywood's Hos http://dailycaller.com/2017/10/20/harvey-sweinstein-and-hollywoods-hos/," The Daily Caller, October 20, 2017. 2010s, 2017

Art

“It is dreadful to think of Paris in German hands but what preoccupies me still more is what is going to happen to modern French art and the younger artists.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

In June 1938 Amrita and her husband fled from Fascist dominated Hungary.
Sikh Heritage,Amrita Shergil

Art, Thinking

“In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:
Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Ché la diritta via era smarrita.
In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.
One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.”

William Styron book Darkness Visible

Source: Darkness Visible (1990), X

Life, Death, Women, Men

“I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 14th May 1887, as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 189
1880's

Search, Intelligence, Thinking

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (1993)

Art, Departure, Drawing, Painting

“Really, universally, relations stop nowhere, and the exquisite problem of the artist is eternally but to draw, by a geometry of his own, the circle within which they shall happily appear to do so.”

Henry James Roderick Hudson

Roderick Hudson.
Prefaces (1907-1909)

Problem, Universe, Appearance, Drawing

“If you look at practically anyone - I mean, I find this more and more - the more you look at people the more you find that they've actually manufactured themselves. People whose names that you know. I meet lots of people in my ordinary life, away from writing, who seem to be authentic, who seem to know where they've come from and who they are, but anyone that I deal with in, if you like, my profession, we all seem to have made ourselves. I think artists are all self-made.”

John Banville (1945) Irish writer

Oblique dreamer (2000)

Life, People, Thinking

“It is true that for us art is not an end in itself, we have lost too many of our illusions for that. Art is for us an occasion for social criticism, and for real understanding of the age we live in... Dada was not a school of artists, but an alarm signal against declining values, routine and speculations, a desperate appeal, on behalf of all forms of art, for a creative basis on which to build a new and universal consciousness of art.”

Hugo Ball (1886–1927) German author, poet and one of the leading Dada artists

quoted by Richard Kostelanetz and Joseph Darby (eds.) in Classic Essays on Twentieth-Century Music; Schirmer, New York, 1996 ISBN 0028645812
after 1916

Age, School, Art, Understanding

“I could only see myself making a living through writing, as I had done in China. But should I write in Chinese here, a foreign land, or enrol in a language class and study English grammar? If I continued to write in Chinese I would have no readers here. Besides, I would never create a community of fellow artists and thinkers in my Western life while speaking Chinese.”

Xiaolu Guo (1973) Chinese-British novelist and film director

Once Upon A Time in the East: A Story of Growing up, Chatto & Windus, 2017, page 259 (ISBN 9781784740689).
Memoir, 2017

Life, Communication, Study

“I mean artists like Joseph Beuys, who is really a tough, strong artist. B E U Y S. He's been working in Germany for years. He doesn't bother with the burden of ideas. What he desires to do is fill your house with margarine. Let you live encased in fat, die encased in fat. He would take three hundred pounds of margarine and put it exactly where Pat Kelly is now, and then leave it there. That's sort of the tenor of his work.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 25

Idea, Strong, Housing

“I’d have to say that accompanying vocalists is tougher, especially if you are with artistes of the calibre of Pt Jasraj or Vidushi Kishori Amonkar. The first 45 minutes can be very involved, intense and slow. You have to concentrate and focus because when things are slow, each beat is magnified a thousand-fold. Even a small chisel at the end of beat stands out.”

Zakir Hussain (musician) (1951) Indian tabla player, musical producer, film actor and composer

Quote, I've never wanted to fit in Abbaji's shoes: Ustad Zakir Hussain

“The role of the artist, of course, has always been that of image-maker. Different times require different images.”

Adolph Gottlieb (1903–1974) American artist

1950s, Conversations With Artists, 1957

Time

“Whether you are carving a statue or reorganizing a corporation, you have a vision of what you want to create, as well as a sense of how to make that vision real by bringing different elements together according to an overall pattern… And just as artists communicate their intent through their works, managers must be able to convey their vision in an inspiring and forceful way - in other words to lead - or else that vision will never be fully realized.”

Roger Smith (executive) (1925–2007) CEO

As cited in: Elizabety A Dreyer (1996) "Excellence in the Profession." Theological Education Vol 33. Nr. 1. (Autumn 1996). p. 11.
The liberal arts and the art of management (1987)

Way, Communication, Sense

“As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.... the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 14

Art, Idea, Thinking, Time

“The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual.”

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

Source: Art on the Edge, (1975), pp. 64-65, "Olitski, Kelly, Hamilton: Dogma and Talent"

Art, History

“My only source of instruction has always been the study of works, whether of the past or contemporary artists, which can offer us an answer to our questions if we formulate these properly... I would never be of much use as a guide or instructor, nor have I ever wanted to be one, even when I have been asked to undertake the job [still, Morandi was art professor - etchings - at the Art Academy of Bologna for many years].”

Giorgio Morandi (1890–1964) Italian painter

the text of this interview was later examined by Morandi and approved in the English translation
interview with Edouard Roditi, in 'Dialogues in Art', 1960; as quoted in Morandi 1894 – 1964, published by Museo d'Arte Moderna di Bologna, ed: M. C. Bandera & R. Miracco - 2008; p. 250
1945 - 1964

Art, Question, Study, Past

“The great artist is conscious of the talent and power he possesses otherwise he would not see his faults and so would not be able to improve.”

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

Letter to Sophie Brzeska-Savage Messiah By H S (Jim) Ede Heinimann (1931)

“What I have to express is not handled with words. It must 'come' tot the observer. It must carry its influence over the mind of the individual into that region of him which is more than the mind. The pictures must reach inwards into the deeper experiences of the beholder – and mind you they care in no sense religious tracts – there is no story to them or literature – no morals – they are merely artistic expressions of mystical states – these in themselves being my own personal motives as drawn from either special experiences or aggregate ones.”

Marsden Hartley (1877–1943) American artist

letter to Alfred Stieglitz, September 28, 1913, Hartley Archive, Yale University; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 9
1908 - 1920

Literature, Motivation, Sense, Personality

“It is so important for me to keep authentic Cuban sounds alive. All of these great artists have changed the landscape of Latin music and it's an honor to have them on this album ["90 Millas," released in September of 2007]. I believe this album will expose a new generation to the richness of Cuban music.”

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

news release (July 20, 2007)
2007, 2008

Music, Change

“Viennese life at the turn of the century provided opportunities in salons and coffeehouses for scientists, writers, and artists to come together in an atmosphere that was at once inspiring, optimistic, and politically engaged. …science was no longer the narrow and restrictive province of scientists but had become an integral part of Viennese culture. …a paradigm for how an open dialogue can be achieved.”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

Life, Science, Parting

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

God, Art, Feeling, Soul

“If someone gave me a million dollars to run a music label, I would focus on creating a specific artistic point of view, and creating some channel to build a fanbase. Warp Records was a great example of a label that had a particular style, and many people would buy records just because the artists were associated with the label.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

People, Music

“I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass. “The architectural simplicity” – whether of a platonic idea or greek temple – I far prefer to no idea at all, or no temple at all, or, for instance, to most of the complicated and too tropical structures of India. Nothing could ever convince my EYE – even if my intelligence were otherwise overcome – that anything that did not possess this simplicity, conceptual quality, hard exact outline, grand architectural proportion, was the greatest art. Bergson is indeed the arch enemy of every impulse having its seat in the apparatus of vision, and requiring a concrete world. Bergson is the enemy of the Eye, from the start; though he might arrive at some emotional compromise with the Ear. But I can hardly imagine any way in which he is not against every form of intelligent life. (p. 338)”

Wyndham Lewis (1882–1957) writer and painter

"The Great God Flux".
The Art of Being Ruled (1926)

Life, World, Art, Way

“It takes a great deal of strong personality to survive the art school training. Hard nuts that the art schools can't crack and devour get through and become artists.”

John Sloan (1871–1951) American painter

Ibid., p. 8.
The Gist of Art (1939)

School, Art, Strong, Personality

“Decidedly, we are at cross-purposes. What's all this you tell [from England] about the modern movement, commercialism, etc, etc? It bears no relation to our concept of art, at any rate here... That is where the error lies. Trade serves those up to us as readily as anything else; so it is no use. Wouldn't it be better to steep ourselves in genuine nature again? I do not consider in the least that we are making a mistake, that we should turn to the steam-engine and follow the general public [ William Morris, the more traditional artist became very popular those days]... No, a thousand times no! We are here to point the way.... the remedy is to be found in nature, more than ever. Let us follow what we consider to be the proper aim, we shall see who is right. After all, money is a fragile thing; let us earn some of it, since we must, but let us keep to our role.”

Camille Pissarro (1830–1903) French painter

In a letter to his son Lucien, 26 April 1900, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 148
after 1900

Money, Art, Way, Error

“Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

Life, Art, Way

“I can only explain to some artists, who would be my collaborators and not my pupils, the method by which, in my opinion, one becomes a painter, by which I myself have tried to become one since my earliest days, leaving to each person the complete control of his individuality, the full liberty of his own expression in the application of this method. To achieve this aim, the organization of a communal studio, recalling those extremely fruitful collaborations of the studios of the Renaissance, could certainly be useful and contribute to the opening of the era of modern painting.”

Gustave Courbet (1819–1877) French painter

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

Communication, Painting, Personality

“Founders are truly artists – they see something no one else does.”

Steve Blank (1953) American businessman

Fortune "Entrepreneurs as dissidents" http://fortune.com/2012/11/06/entrepreneurs-as-dissidents/. November 6, 2012.

“She, however, attentively watched my looks, and her artist's pride was gratified, no doubt, to read my heartfelt admiration in my eyes.”

Anne Brontë book The Tenant of Wildfell Hall

Source: The Tenant of Wildfell Hall (1848), Ch. VIII : The Present; Gilbert Markham

Reading

“With the pride of an artist, you must blow against the walls of every power that exists, the small trumpet of your defiance.”

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

As quoted in The Eternal Adam and the New World Garden (1968) by David W. Noble, p. 204

“There may not be a high-level purpose for humanity, but that doesn't mean we can't find inspiration in the world. I think there is a combination of psychological and environmental factors that combine to create various urges in humanity -- most importantly the urge to create, to contribute something to the world, to express your personal worldview and see how the world responds. Art doesn't happen in a vacuum, and if it were only for personal gain then nobody would ever release music to the public. The process changes you, and also changes the world itself, creating ripples of inspiration which flow between the artist and the listener.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

World, Art, Music, Thinking

“Our father the novelist; my husband the poet. He belongs to the ages – just don't catch him at breakfast. Artists, celebrated for their humanity, they turn out to be scarcely human at all.”

Alan Bennett (1934) English actor, author

"Kafka in Las Vegas", p. 348.
Writing Home (1994)

Age

“I don't know what people find or like in me, I'm hopelessly commonplace! … Current appreciation of my work is a bit "highbrow", I've always considered myself a popular artist.”

Maxfield Parrish (1870–1966) American painter and illustrator

"Bit of a Come-Back Puzzles Parrish" in The New York Times (3 June 1964)

People

“I had rather be called a journalist than an artist.”

H. G. Wells (1866–1946) English writer

Letter to author Henry James (8 July 1915)

“Comics they say are not literature – adventure strips lack artistic form, mental substance, and emotional appeal to any but the most moronic of minds. Can it be that 100,000,000 Americans are morons?”

William Moulton Marston (1893–1947) American psychologist, lawyer, inventor and comic book writer

Why 100,000,000 Americans Read Comics. p. 35-44.

Literature

“Israel has extended its hand in peace from the moment it was established… In Israel our hope for peace never wanes. Our scientists, doctors, and innovators apply their genius to improve the world of tomorrow. Our artists, our writers, enrich the heritage of humanity. Now, I know that this is not exactly the image of Israel that is often portrayed…”

Benjamín Netanyahu (1949) Israeli prime minister

2010s, 2011 Source: Address to the U.N. General Assembly https://web.archive.org/web/20130615172321/http://www.mfa.gov.il/mfa/pressroom/2011/pages/remarks_pm_netanyahu_un_general%20_assembly_23-sep-2011.aspx (23 September 2011).

World, Peace, Hope

“There can be no doubt that Tsai's phenomena (whether they be works of art in the strict sense, or whether they be fantastic artifices) are extremely important. They show what promises and dangers may be in here in a "play," if it is proposed by a great artist. Because, even if Tsai's phenomena be considered artifices, there can be no doubt that Tsai is a great artist. Not because what he does is pleasant, or because he proposes a play, or because he represents the spirit of our times, but because he reveals to us, through artifice or works of art, the concrete experience of a future full of promise or abysmal danger.”

Vilém Flusser (1920–1991) Czech philosopher and photographer

Vilem Flusser, Aspects and Prospects of Tsai's Work, Art International, March 1974

Art, Sense, Time, Future

“.. the best way to know God is to love many things. Love a friend, a wife, something, whatever you like... But one must love with a lofty and serious intimate sympathy, with strength, with intelligence… That leads to God, that leads to unwavering faith... To give you an example: someone loves Rembrandt, but seriously, - that man will know that there is a God, he will surely believe it... To try to understand the real significance, of what the great artists, the serious masters, tell us in their masterpieces, that leads to God..”

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

Quote in his letter to brother Theo, from Cuesmes, Belgium July 1880; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 133) p. 39 1880s, 1880

Love, God, Faith, Way

“My closing statement to the senate and the council is…youth need art this truth is, not hard to swallow. I see many artistic people wallow in sorrow off belief. They aren't good enough to be. Give us a chance let us write our own histories. In a world conforming us instead of conforming for us. Kids ain't dumb just bored of the same old junk. Formulated highlight text, define learning. Is it confined to enclosed spaces eight hours a day? If it is I know why the caged bird sings.”

Marcus Orelias (1993) American actor, rapper, songwriter, author and entrepreneur

Fate
20s A Difficult Age (2017)

People, Truth, Youth, World

“Those Englishmen who are taunted with following the methods of the French Impressionists, sneered at for imitating a foreign style, are in reality but practising their own, for the French artists simply developed a style which was British in its conception.”

Wynford Dewhurst (1864–1941) British artist

Wynford Dewhurst 1904, quoted in: Douglas Cooper (1954) The Courtauld Collection: A Catalogue and Introduction. p. 44.

Reality

“The reviewers of fifty years ago knew that their primary loyalty must lie not with their fellow poets or publishers but with the reader. Consequently they reported their reactions with scrupulous honesty even when their opinions might lose them literary allies and writing assignments. In discussing new poetry they addressed a wide community of educated readers. Without talking down to their audience, they cultivated a public idiom. Prizing clarity and accessibility they avoided specialist jargon and pedantic displays of scholarship. They also tried, as serious intellectuals should but specialists often do not, to relate what was happening in poetry to social, political, and artistic trends. They charged modern poetry with cultural importance and made it the focal point of their intellectual discourse.”

Dana Gioia (1950) American writer

Essays, Can Poetry Matter? (1991)

Lie, Education, Communication, Loyalty

“The label didn't want me to do this look. But cutting my hair, it made me stand out as an artist. I don't care who likes it--this is me.”

Rihanna (1988) Barbadian singer, songwriter, and actress

Allure magazine, January 2008.

“I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
1930's

“I dare boldly conclude that the most valiant armie of the best approved soldiers, (yea though consisting of lovers themselves, and that giving battaile in the presence of their Ladies and Mistresses) may easily even with a small band of ingenious scholars and Artists be utterly overthrown and vanquished.”

Hugh Plat (1552–1608) writer

Hugh Platt A new, cheape and delicate Fire of Cole-balles (1603); As cited in: Hugh Plat: Renaissance Man of Early Modern England http://bloggingtherenaissance.blogspot.nl/2006/06/hugh-plat-renaissance-man-of-early.html, at bloggingtherenaissance.blogspot.nl, June 2006.

Lovers

“We have come here to dedicate a cornerstone that was laid by the hand of the Almighty. On this towering wall of Rushmore, in the heart of the Black Hills, is to be inscribed a memorial which will represent some of the outstanding features of four of our Presidents, laid on by the hand of a great artist in sculpture. This memorial will crown the height of land between the Rocky Mountains and the Atlantic Seaboard, where coming generations may view it for all time.”

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

1920s, Address at the Black Hills (1927)

Mountain, Memory, Time, Heart

“Don’t ever wear artistic jewellry; it wrecks a woman’s reputation.”

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

Aunt Alicia
Gigi (1945)

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

Art, Color, Decision, Study

“When discussing Bach’s six Brandenburg concertos, the artistically aware person usually states, among other things, that when these masterpieces were composed, the stars were dancing in heavens. God and his dwelling place are always involved whenever these people talk about Bach.”

Elfriede Jelinek book The Piano Teacher

P159
The Piano Teacher (1988)

God, People, Star, Dance

“The philosophic spirit of inquiry may be traced to brute curiosity, and that to the habit of examining all things in search of food. Artistic genius is an expansion of monkey imitativeness.”

William Winwood Reade (1838–1875) British historian

Source: The Martyrdom of Man (1872), Chapter III, "Liberty", p. 315.

Food, Search

“You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist’s life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible.
This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement
Dee”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from a letter to Katherine Sophie Dreier, Paris 11 September 1929; as cted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 158
Duchamp's quote is referring to a new publication of the 'Duchamp Book' and to his famous so-called Art-Silence.
1921 - 1950

Life, Books, Age, Art

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

Wassily Kandinsky (1866–1944) Russian painter

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

Books, Art, Thinking, Decision

“But an artist, he realized. Or rather so-called artist. Bohemian. That’s closer to it. The artistic life without the talent.”

Philip K. Dick book The Three Stigmata of Palmer Eldritch

Source: The Three Stigmata of Palmer Eldritch (1965), Chapter 10 (p. 168)

Life

“The Greeks were men of sense; if they used the system they did so for a purpose, as artists rather than mathematicians and imperceptible irregularities could not affect that purpose.”

Ernest Flagg (1857–1947) American architect

Source: Small Houses: Their Economic Design and Construction (1922), Ch. II

Men, Sense

Quotes about artist page 18

Quotes about artist
page 18