Quotes about artist
page 19

“In order to understand the meaning of the phrase dialogue among civilizations as defined here, one has no choice but to closely pay attention to a number of points one of which is the relationship between a politician and an artist, and the other is the relationship between ethics and politics.”

Mohammad Khatami (1943) Iranian prominent reformist politician, scholar and shiite faqih.

UNESCO 1999
Attributed

Understanding

“This happened in 1912. Cubism was in full force. I made paintings that seemed like prisms compared to the Cubism my fellow artists were producing. I was the heretic of Cubism. I had great arguments with my comrades who banned color from their palette, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc... I felt I had almost reached my goal.”

Robert Delaunay (1885–1941) French painter

6
Quote from Delaunay's 'First Notebook, 1939', as cited in The New Art of Color: The Writings of Robert and Sonia Delaunay, Viking Press, 1978; as quoted on Wikipedia / Delaunay
1915 - 1941

Color, Painting

“His work is full of the signs of those two cardinal sins from which (as Kafka pointed out) all the others spring: impatience and laziness. The work of every artist is conditioned by the way in which he resists or yields to these temptations.”

Patrick Swift (1927–1983) British artist

Some Notes on Caravaggio (1956)

Way, Spring

“This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.... somebody actually MADE those paintings....(it) was the first time I realized you could be an artist.”

Robert Rauschenberg (1925–2008) American artist

Source: 1990's, Rauschenberg, Art and Live, 1990, p. 60

Art, Boy, Time, Painting

“A glimpse heavenward at a constellation or even at a single star only suggests infinity; actually our vision is limited. We cannot perceive unlimited space; it is immeasurable. The universe, as we know it through our visual experience, is limited. It first came into existence with the formation of matter, and will end with the complete dissolution of matter.<!-- I TRIMMED this portion to simply cut down a little on quotes from this one essay. ~ 2009·03·21 02:36 Kalki} Where there is matter and action, there is space. Pictorial space exists two dimensionally. When the two dimensionality of a picture is destroyed, it falls into parts — it creates the effect of a naturalistic space. When a picture conveys only naturalistic space, it represents a special case, a portion of what is felt about three-dimensional experience. This expression of the artist’s experience is thus incomplete.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-48
'Search for the Real in the Visual Arts', p. 43
Search for the Real and Other Essays (1948)

Quotes, Star, Universe, Parting

“But when the artist abandons visible appearance, as in Mondrian's black grids on white grounds filled with balancing rectangles of colour, many people feel left behind. And yet the rhythms of Mondrian are those of nature. The harmonies are those which guided proportion in classical buildings and Renaissance churches. Rothko's glowing maroon Seagram Murals at the Tate may, like Turner's late canvases, appear to be "of nothing" but in their brooding depth Rothko suggests another world. As one four year old child said of the Rothko room at the Tate "it makes me think of God."”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

God, People, World, Feeling

“A great cricketer must be an artist and express himself in his strokes.”

Margaret Hughes (1645–1719) British actress

All On A Summer's Day (1953).

“The man of genius whether as artist or thinker requires a mass of accidental variations to select from and a rigidly selective process of attention.”

Boris Sidis (1867–1923) American psychiatrist

Source: The Foundations of Normal and Abnormal Psychology (1914), p. 98

“The arrogance of the artist is a very profound thing, and it fortifies you.”

James A. Michener (1907–1997) American author

As quoted in "The Michener Phenomenon" by Caryn James in The New York Times (8 September 1985)

“Only the absence of honesty and of a true love of art provides some artists with the affrontery to live on stale cans of artistic economics stocked up for years, and, year in year out, until they are fifty, to mutter about what they had first started to talk about when they were twenty.”

Olga Rozanova (1886–1918) Russian artist

Quote, 1913, in 'Osnovy novogo tvorchestva i prichiny ego neponimaniia,', in 'Soiuz molodezhi' (St. Petersburg), March 1913, p. 20; translated in John E. Bowlt, The Russian Avant- Garde: Theory and Criticism; Thames and Hudson, London 1988, p. 109

Love, Art

“One becomes a critic when one cannot be an artist, just as a man becomes a stool pigeon when he cannot be a soldier.”

Gustave Flaubert (1821–1880) French writer (1821–1880)

22 October 1846
Correspondence, Letters to Madame Louise Colet

“The man is a complete wackadoo, but so is every great actor who ever lived. You gotta separate the artist from his/her art, or you won't be able to enjoy anything.”

Brian K. Vaughan (1976) American screenwriter, comic book creator

Art

“I was talking to a friend about it recently and I told him that the thing about making that film that upset me most was how cruel Lars is to the woman he is working with. Not that I can't take it, because I'm pretty tough and completely capable of defending myself, but because my ideals of the ultimate creator were shattered. And my friend said "What did you expect? All major directors are "sexist", a maker is not necessarily an expert in human rights or female/male equality!
My answer was that you can take quite sexist film directors like Woody Allen or Stanley Kubrick and still they are the one that provide the soul to their movies. In Lars von Trier's case it is not so and he knows it. He needs a female to provide his work soul. And he envies them and hates them for it. So he has to destroy them during the filming. And hide the evidence. What saves him as an artist, though, is that he is so painfully honest that even though he will manage to cover up his crime in the "real" world (he is a genius to set things up that everybody thinks it is just his female-actress-at-the-moment imagination, that she is just hysterical or pre-menstrual), his films become a documentation of this "soul-robbery.”

Björk (1965) Icelandic singer-songwriter

Breaking the Waves is the clearest example of that. bjork." From the www.bjork.com http://www.bjork.com 4um, posted by Björk in response to a question about her conflict with director Lars von Trier during the production of Dancer in the Dark. Other quotes

Hate, World, Soul, Imagination

“Gods were crucified, scientists and inventors tortured and persecuted, artists slandered.”

Vanna Bonta book Flight: A Quantum Fiction Novel

Source: Flight: A Quantum Fiction Novel (1995), Ch. 23

God

“… what the photographer has to be urged, persuaded and argued with, to do, are often matters which the artist never needs to think about, because it would be unnatural to him not to act in unconscious obedience thereto.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 3

Thinking

“A work of art is a world in itself reflecting senses and emotions of the artist's world.
Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 59
Search for the Real and Other Essays (1948)

World, Art, Color, Flowers

“The vision of the artist or the poet is the intermediate determinant between the subject (the person) and the objective pole (the world-waiting-to-be). It will be nonbeing until the poet's struggle brings forth an answer — meaning. The greatness of a poem or a painting is not that it portrays the thing observed or experienced, but that it portrays the artist's or the poet's vision cued off by his encounter with the reality. Hence the poem or the painting is unique, original, never to be duplicated. No matter how many times Monet returned to paint the cathedral at Rouen, each canvas was a new painting expressing a new vision.”

Rollo May (1909–1994) US psychiatrist

Source: The Courage to Create (1975), Ch. 4 : Creativity and the Encounter, p. 79

World, Reality, Time, Waiting

“Why not to set free these forms? Why not trying to uncover the infinite meaning of absolute space, the meaning of pure and absolute light? [Manzoni is referriung to the colourless, but still matter-made art paintings, made by Zero artists, around 1950-60]”

Piero Manzoni (1933–1963) Italian artist

Source: De Tweede Helft', Ad de Visser, 1998, p. 159

Art, Light, Painting

“In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It’s at this cost, said Glenn and Andreas, … that a brush encounters the “right” shapes, that a voice and a theatrical gesture are endowed with the “right” tone and look. The soliciting of emptiness, this evacuation—very much the opposite of overweening, selective identificatory activity—doesn’t take place without some suffering. … The body and mind have to be free of burdens for grace to touch us.”

Jean-François Lyotard (1924–1998) French philosopher

Source: Thought Without a Body? (1994), p. 296

Suffering

“Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.”

Kurt Schwitters (1887–1948) German artist

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

Art, Imagination, Painting

“Some say it appears that painting has come to an end. I say the problem is that the painters' curiosity has come to an end, and this is more observable in the West and not in the East, since in the East there are plenty of untouched and unexplored spaces that could still inspire an artist as sources of creativity.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Problem, Appearance, Painting

“I'm not going to compromise my artistic integrity.”

Madonna (1958) American singer, songwriter, and actress

(Spoken in her documentary Truth or Dare).

“Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.”

W. S. Gilbert (1836–1911) English librettist of the Gilbert & Sullivan duo

The Mikado (1885)

“We are approaching a millennium; the year 2000 draws on apace. The last time mankind had this experience a chaos comparable to our own was observable in many parts of the world; monsters and portents were reported from all quarters of the globe. We need not believe in these monsters and portents as actualities any more than we need believe the reports of flying saucers today; what is significant is that men yielded to an inner compulsion to fancy such things, and in this sense they were artistic creations rooted in fear much as are the pictures and images which we have been discussing.”

Robertson Davies book A Voice from the Attic

A Voice from the Attic (1960)

Men, World, Fear, Sense

“I would like to be a free artist and nothing else, and I regret God has not given me the strength to be one.”

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

Letter to Alexei Pleshcheev (October 4, 1888)
Letters

God

“I knew a painter, a disciple of Gustave Moreau; he was truly a very fine artist, he knew his work quite well, and then … he was starving, he did not know how to make both ends meet and he used to lament. Then one day, a well-wishing friend sent a picture-dealer to his studio. The latter inspected all his works, without discovering anything of interest: the works of the painter were simply not fashionable and therefore without commercial value. But at last the dealer found a canvas with some palette-scrapings in a dusty corner and was suddenly full of enthusiasm: "Here you are! my friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in Paris (1897-1904) http://www.searchforlight.org/TheMother_lifeSketchpart2.htm and also in Mother India: Monthly Review of Culture, Volume 60 by Sri Aurobindo Ashram ( 2007) http://books.google.co.in/books?id=01tMAQAAIAAJ, p. 131.

Imagination, Fashion

“To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth.
He has only to look into a human face in order to read there the soul within — not a feature deceives him; hypocrisy is as transparent as sincerity — the line of a forehead, the least lifting of a brow, the flash of an eye, reveal to him all the secrets of a heart.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. II. To the artist, all in nature is beautiful, p. 47-48

Truth, Secret, Books, Beauty

“Avoiding all control, I spread out sheets of white paper or canvas in the nature. For some time they stay in the grass, in the rushes of river, in the meadows or among the rocks. Nature registers its presence, covering the surface of the paper with colors, forms and tracks. This process is controlled by a number of agents; such as space and time, substance and causality. It is governed by nature's intensity. It does not, depend on man's interference. Nature is the greatest and most admirable creator, and unlike logic it doesn't fail. The artist obligation is not to shape - handicraft, but to understand the riddles of reality. In such conception of Art there lies, as in the Universe itself, an immense richness, and a countless variety of forms.”

Jacek Tylicki (1951) American artist

Catalogue to exhibition in Gallery 38 - Copenhagen, 1976, as cited in: Leszek Brogowski & Dorota Czerner (transl.). Jacek Tylicki: Art and Artworks. 2014

Art, Color, Understanding, Nature

“I've been & am absurdly over-estimated. There are no supermen & I'm quite ordinary, & will say so whatever the artistic results. In that point I'm one of the few people who tell the truth about myself.”

T. E. Lawrence (1888–1935) British archaeologist, military officer, and diplomat

Letter in T.E. Lawrence: The Selected Letters (1989) edited By Malcolm Brown, as quoted in "The Hero Our Century Deserved" by Paul Gray in TIME magazine (15 May 1989) http://www.time.com/time/printout/0,8816,957680,00.html

People, Truth

“While this bourgeois order found its rich—and even affirmative—representation in art and literature, … it remained an order which was over-shadowed, broken, refuted by another dimension which was irreconcilably antagonistic to the order of business, indicting it and denying it. And in the literature, this other dimension is represented not by the religious, spiritual, moral heroes (who often sustain the established order) but rather by such disruptive characters as the artist. the prostitute, the adulteress, the great criminal and outcast, the warrior, the rebel-poet, the devil, the fool—those who don't earn a living, at least not in an orderly and normal way. To be sure, these characters have not disappeared from the literature of advanced industrial society, but they … perform a function very different from and even contrary to that of their cultural predecessors. They are no longer images of another way of life but rather freaks or types of the same life, serving as an affirmation rather than negation of the established order.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 58-59

Life, Fools, Art, Way

“The Internet is the more democratic media them last times. And for being anarchical, it's open to all manifestations, artistic also.”

Kátya Chamma (1961) Brazilian singer and writer

Source: Interview at Recanto das Letras http://recantodasletras.com.br/entrevistas/625556, 2007.

Time

“One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.”

R. G. Collingwood (1889–1943) British historian and philosopher

Abstract
Outlines of a Philosophy of Art, 1925

Life, Art, Imagination, Reality

“I have been to [gallery] Hagen, saw two Matisses, which enchanted me. A large collection of Japanese masks. Sublime! 'Neue [Künstler] Vereinigung' were hung in a bad light.... Kandinsky, Jawlensky, Bechteleff and Erbslöh have immense artistic sensibility. But the means of expression are to big for what they have to say. The sound of their voice is so good, so fine, that what is being said get lost. Consequently a human element is missing. They concentrate, too much, I think, on form. There is much to be learnt from their efforts. But early things by Kandinsky, and a few by Jawlensky too, seem a little empty to me. And Jawlensky's heads looked at me a little bit too much with colors. With blue and green. I hope you understand what I mean.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to Franz Marc, 26 December 1910; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 137

Hope, Color, Understanding, Thinking

“He [the artist in general] ought to have 'these powerful organs of expression' — colour and chiaroscuro — entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.”

John Constable (1776–1837) English Romantic painter

Text for the 'Old Sarum', print in 'English Landscape' 1835/36, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380
1830s

Freedom, Appearance, Sun, Perfection

“We see plenty of artistic work that reflects superficial social conditions, but very little work that questions fundamental values.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Truth to Power, 2008

Question

“May they not forget to keep pure the great heritage that puts them ahead of the West: the artistic configuration of life, the simplicity and modesty of personal needs, and the purity and serenity of the Japanese soul.”

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

Comment made after a six-week trip to Japan in November-December 1922, published in Kaizo 5, no. 1 (January 1923), 339. Einstein Archive 36-477.1. Appears in The New Quotable Einstein by Alice Calaprice (2005), p. 269
1920s

Life, Soul, Personality, Forgetting

“The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?"”

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

Source: Art on the Edge, (1975), p. 237-9, "Reality Again: The New Photorealism"

Art, Nature, Appearance, Success

“Why are you so concerned about society?' That is always the question. And my answer is simple: 'Because you are an artist, you have to associate yourself with freedom of expression.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Truth to Power, 2009

Question, Freedom

“The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color of the object, its form, and of its combined color and form, i. e., of the object itself. At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. It is clear, therefore, that the choice of object (i. e., of one of the elements in the harmony of form) must be decided only by a corresponding vibration in the human soul..”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, Munich, 1910; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 450
1910 - 1915

Color, Soul, Appearance

“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

Piet Mondrian (1872–1944) Peintre Néerlandais

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts. Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp. 44-45 published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931 1930's

Pleasure, Art, Idea, Nature

“For some time now it has been clear that intermedia art is trending toward that point at which all the phenomena of life on earth will constitute the artist’s palette. It is the purpose of this chapter to illuminate the direction of that trend and to cite a few pertinent examples. As with all other Paleocybernetic phenomena, the direction is simultaneously toward inner and outer space, the microcosm and the macrocosm. On the one hand, intermedia environments turn the participant inward upon himself, providing a matrix for psychic exploration, perceptual, censorial, and intellectual awareness; on the other hand technology has advanced to the point at which the whole earth itself becomes the “content” of aesthetic activity. The term “light show” must now be expanded virtually to include the aurora borealis, since hemispherical lumia displays are possible in the creation of artificial plasma clouds in space (see color plates), the launching of rockets to generate atmospherical events, or urban environmental generators such as Nicholas Schoffer’s monumental Cybernetic Light Tower, which transforms the skies of Paris into panoramic fantasias of color.”

Gene Youngblood book Expanded Cinema

Source: Expanded Cinema, 1970, p. 348; The Artist as Ecologist http://www.screeningthepast.com/2011/11/the-artist-as-ecologist/

Life, Art, Color, Light

“.. art and life are no longer separate domains… The word 'art' no longer has anything to say to us. In place of that, we [=De Stijl-artists ] insist upon the construction of our surroundings according to creative laws, deriving from a fixed principle.”

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

quote of 1918
quoted in Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 85
1912 – 1919

Life, Law, Art, Quotes

“[M]y main task when I was artistic director at Thomson for four years: to make the company virtuous. Not because there was a desire there to do evil, but because they had simply forgotten their purpose in life - to be of service, to use their skills to be of service. It is essential to try to play the role of a friendly "enemy within". That is, to catch the interest of these big companies so that they make money available, and research facilities, and distribution networks, for this return to what is the origin of all their activities - to serve others. It even means changing the words they use. One of the things I did at Thomson was to change their name. Thomson used to be called TCE, Thomson Consumer Electronic, and I asked them: who wants to be a "consumer of electronics?"”

Philippe Starck (1949) French architect and industrial designer

Starck, 2000

Life, Money, Evil, Change

“Tagore once said– art has to be beautiful, but, before that, it has to be truthful.
Now, what is truth? There is no eternal truth. Every artist has to learn private truth though a painful private process. And that is what he has to convey.”

Ritwik Ghatak (1925–1976) Bengali filmmaker and script writer

[Ghatak, Ritwik, Cinema and I, 1987, Ritwik Memorial Trust, 75]

Pain, Truth, Beauty, Art

“In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer’s role as an inextricable part of the system. Jack Burnham’s 1968 Artforum essay “Systems Aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. Systems https://books.google.nl/books?id=Ip_0rQEACAAJ, 2015. Overview

Art, Music, Science, Change

“Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. […] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or […] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind.”

Barbara Hepworth (1903–1975) English sculptor

Quote from a conversation with J.P. Hodin, 18 August 1959; in an extract from J.P. Hodin, Barbara Hepworth, London, 1961, Two Conversations with Barbara Hepworth: 'Art and Life' and 'The Ethos of Sculpture', pp. 23–24
1947 - 1960

Life, World, Art, Way

“You start to think, when you’re younger, how important everything is and how things have to go right—your job, your career, your life, your choices, and all of that. Then, after a while, you start to realise that – I’m talking the big picture here – eventually you die, and eventually the sun burns out and the earth is gone, and eventually all the stars and all the planets in the entire universe go, disappear, and nothing is left at all. Nothing – Shakespeare and Beethoven and Michelangelo gone. And you think to yourself that there’s a lot of noise and sound and fury – and where’s it going? It’s not going any place… Now, you can’t actually live your life like that, because if you do you just sit there and – why do anything? Why get up in the morning and do anything? So I think it’s the job of the artist to try and figure out why, given this terrible fact, you want to go on living.”

Woody Allen (1935) American screenwriter, director, actor, comedian, author, playwright, and musician

Interview with France 24 (2010) http://www.youtube.com/watch?v=2MsuqvLIttk.

Life, Star, Thinking, Universe

“This book will not take as its province all kinds of cultural growth — artistic, philosophical, military — but will try to shed some light on a narrower problem, namely, the reasons for economic growth and decline. The way wealth is distributed is a matter of special interest, partly because it may well be basic to growth in other cultural areas and partly because it has become so uneven in the past century that curiosity has been aroused.”

David C. McClelland (1917–1998) American psychological theorist

Source: The Archiving Society, 1961, p. 1

Books, Way, Problem, Light

“Art is in itself noble; that is why the artist has no fear of what is common. This, indeed, is already ennobled when he takes it up.”

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

Die Kunst an und für sich selbst ist edel; deßhalb fürchtet sich der Künstler nicht vor dem Gemeinen. Ja indem er es aufnimmt, ist es schon geadelt, und so sehen wir die größten Künstler mit Kühnheit ihr Majestätsrecht ausüben.
Maxim 61, trans. Stopp
Maxims and Reflections (1833)

Fear, Art

“I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions... The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 406

God, People, Art, Idea

“Everyone cheats. Only artists don’t. They don’t fool people and they aren’t fooled. They are outside all that. Nobody can understand them.”

Bram van Velde (1895–1981) Dutch painter

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

People, Fools, Understanding, Cheating

“We were aware of her profile, and it was… first, it’s artistic: can she do it? Is she capable of handling this? Can she handle it emotionally? The song. Because it’s a very emotional song. Can she handle it melodically? Does she have the range for it? Second, now then, you’ve got that, now you look to see…because it’s a very strange duet, and I’ve always said it was meant to be a duet. I had the song in ’86, and I don’t care what anybody else says; I know it was my song, it was given to me in ’86, I was gonna do it, it was always gonna be a duet, and I think the only real life of it is a duet. And that’s my opinion, and my opinion only. That’s it. But when it’s a duet, it’s a definitive duet. And then because of how it’s a call-and-response duet, you needed the timbre of the voices. If you get someone with the same timbres… I’m being analytical, but that’s exactly why we picked Marion Raven. And then on the fourth hand… what, she’s twenty-two years old? She can get MTV where I can’t!”

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

On working with Marion Raven in a duet performance of "It's All Coming Back to Me Now".
A chat with Meat Loaf (2006)

Life, Thinking

“If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that's what's going to happen; that's going to be the whole new scene.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Feeling, Thinking, Change, Painting

“The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles... If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', in 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, pp. 24-25
Quotes of Fernand Leger, 1920's

Beauty, Art, Color

“Even 'Jurassic Park III' tried to jump on the avian-dino bandwagon by making a brave attempt to adorn Velociraptor with a feathery hair-piece. (The result looked like a roadrunner's toupee- don't blame the effects-artists; it's notoriously difficult to render feathers in computer graphics animation, so we'll have to wait for 'JP IV' for a more thoroughly rendered avian pelage.)”

Robert T. Bakker (1945) American paleontologist

“Dinosaurs Acting Like Birds, and Vice Versa – An Homage to the Reverend Edward Hitchcock, First Director of the Massachusetts Geological Survey” in Feathered Dragons. Currie, P.; Koppelhus, E.; Shugar, M.; Wright J. eds. 2004. Bloomington: Indiana University Press. pp. 1-11.

Waiting, Animals

“Every artist has a Dorian Gray slaving away in the attic.”

John Banville (1945) Irish writer

How I Write: John Banville on ‘Ancient Light,’ Nabokov, and Dublin (2012)

“Germans have a rather healthy respect for the arts and artists, [could] not be more different from the British perspective.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Art

“Ninety percent of them [artists in general] are forgotten ten minutes after they’re dead.”

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

1941 - 1967
Source: a letter to Margaret McKellar, 14 November 1965; as quoted in Edward Hopper, Gail Levin, Bonfini Press, Switzerland 1984

Dead

“Nordic art casts a spell on the mind which ranges from laughter to tears and from tears to violent rage. One can see how dangerous it is, we can be tyrannized by a cynical person endowed with the power of art. Much has been said about this demonic aspect. In it lies the ultimate demand that the artist must take responsibility for the states of mind that he produces, or at least he must answer for them by knowing them in his own person. This psychic demand in both the artist and the viewer has made Expressionist art so hated by devotees of aestheticism and formalism.”

Asger Jorn (1914–1973) Danish artist

as quoted on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, - Jorn talks about the Nordic concept of Expressionism 1959 - 1973, Alpha and Omega', (1963–64)

Hate, Art, Tear, Laughter

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

Art, Music, Painting

“As an artist, I am very familiar with how to show the details, how to transform them into a language people can understand. They [the government] know that the Internet is a strong force, unbearable for them.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei: ‘Shame on Me.’, 2011

People, Understanding, Strong

“I am interested in detail. I enjoy decoration. By accumulating this mass of detail you throw light on things in a longer sense: in the long run it all adds up. It creates a texture — how shall I put it — a background, a period, which makes everything you write that much more convincing. Of course, all artists are terrible egoists. Unconsciously you are largely writing about yourself. I could never write anything factual; I only have confidence in myself when I am another character. All the characters in my books are myself, but they are a kind of disguise.”

Patrick White (1912–1990) English-born Australian writer

In The Making (1970)

Books, Confidence, Sense, Light

“It had to be that artistically perfect, because it represents yourself when you do a great design.”

Steve Wozniak (1950) American inventor, computer engineer and programmer

Bloomberg Business interview (2014)

Perfection

“I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can’t imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page.”

Robert Rauschenberg (1925–2008) American artist

Source: 21st Century, Robert Rauschenberg, Works, Writings and Interviews, 2006, p. 28

Way, Imagination, Nature, Reading

“Well, Gaffer [his early friend Mr. Wells, artist] I see there will be no peace till I comply; so give me a piece of paper. There, now, rule the size for me, and tell me what I am to do. [Mr. Wells told him: 'Well divide your subject into classes, say: Pastoral, Marine, Elegant Pastoral, and so forth..']”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote of Turner, c. 1806?; told by Mr Wells' daughter, Mrs. Wheeler; included in The life of J.M.W. Turner, Volume II, George Walter Thornbury; Hurst and Blackett Publishers, London, 1862, p. 55
the first drawings for the publication of Turners's famous print-collection Liber Studiorum started here; Mrs. Clara Wheeler as a young girl sat by his side while Turner was making those drawings. A few years later she have gone out many times, sketching with Turner
1795 - 1820

Peace

“My father was a wrestler and though everyone liked music in the family, it was a taboo to even think of a musical career. I used to wrestle to keep him happy. When I was about nine years old, I started learning vocal music from Pandit Rajaram, secretly! At the age of fifteen, I heard the flute for the first time on Allahabad radio. It was as if I was being transported to heaven. The flautist was Pt. Bholanath and that was the major turning point in my life. Soon after, while I was still in my teens I got an offer to work as a staff artist on Cuttack radio in Odisha/ and I accepted. It was then that my father found out that I was a musician. It was a major shock for him.”

Hariprasad Chaurasia (1938) Indian bansuri player

On Parents and Passion.
Melodies of Brindavan: Pandit Hariprasad Chourasia

Life, Happiness, Age, Family

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Men, People, Health, Truth

“Nature shows us its artistic beauty that sciences explain the hows and religions contemplate the whys.”

Newton Lee American computer scientist

Google It: Total Information Awareness, 2016

Religion, Beauty, Nature, Science

“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 2: The Mandarin Dialect (p. 13)

Feeling

“Dicko: Hayley, hair looks great by the way. Curls are good for you. I've got to say, look, I don't think you're a natural at this. You have to work really hard at everything you do and it's pleasing to see the way you're moving in the right direction. I think that was a really tough song to chose. Some of those timings in there, it was a bit like a maths exam at times for me trying to keep up. But I think it's a really good style for you. That type of song. That type of artist, George as well. The only problem I have with you, I've had it for the past few weeks, is I can see you concentrating and I can hear you thinking about what you're trying to do as you're doing it and I don't know. Sometimes I just think if you could switch all of that off and just let yourself go a bit I think you'd be a lot better for it. But that was very good.”

Hayley Jensen (1983) Australian singer

Australian Idol, Final Performances, Final 8

Way, Nature, Problem, Thinking

“Since then, much has changed. We do not care for Raphael, and are less enthusiastic about the statues of the so-called golden age of Greece. Our predecessors’ ideals are not ours. Works signed by great names over the centuries appeal to us less. In the hurry and bustle of their times, worldly-wise artists created works for Popes and palaces. It is the ordinary people who laboured in their workshops and of whose lives scarcely anything is now known, whose very names have not come down to us, that we love and respect today in their plain, large-scale carvings in the cathedrals of Naumburg, Magdeburg and Bamberg.”

Emil Nolde (1867–1956) German artist

2.
1900 - 1920, On Primitive Art – Emil Nolde, 1912

Love, People, Age, Change

“The war [World War 1. ] gave me a certainty of belief. I grew aware of the bankruptcy of theories, of the theories of intellectuals as well as artists. L'art pour l'art and other grave problems no longer gave me a headache; they seemed to me so much bosh hand interested me as little as platonic love.”

Maurice de Vlaminck (1876–1958) French painter

Source: Quotes dated, Dangerous Corner', 1929, p. 17-18

Love, War, World, Problem

“When I started writing I was a great rationalist and believed I was absolutely in control. But the older one gets, the more confused, and for an artist I think that is quite a good thing: you allow in more of your instinctual self; your dreams, fantasies and memories. It's richer, in a way.”

John Banville (1945) Irish writer

14th time lucky (2005)

Dreams, Way, Thinking, Memory

“On May 17, 1969, a show which was to become the seminal exhibition of video art in the U. S. opened at the Howard Wise Gallery in New York City. That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool. Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form. In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia.”

Marita Sturken (1957) American academic

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

Art, Music, Communication, Idea

“Principles heretofore unknown, signifying the emergence of a new era in creative work - an era of purely artistic achievements. An era of the final emancipation of the Great Art of Painting from Literary, Social, and crudely everyday attributes uncharacteristic of it at its core. The elaboration of this valuable world outlook is the service of our times, irrespective of idle speculation about how quickly the individual trends created by it will flash by.”

Olga Rozanova (1886–1918) Russian artist

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), pp. 20-21; as quoted by Svetlana Dzhafarova, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932 (transl. Jane Bobko); Guggenheim Museum, New York, 1992, p. 477

World, Art, Time, Painting

“Weaknesses in men of genius are usually an exaggeration of their personal feeling; in the hands of feeble imitators they become the most flagrant blunders. Entire schools have been founded on misinterpretations of certain aspects of the masters. Lamentable mistakes have resulted from the thoughtless enthusiasm with which men have sought inspiration from the worst qualities of remarkable artists because they are unable to reproduce the sublime elements in their work.”

Eugène Delacroix (1798–1863) French painter

16 January 1860 (p. 391)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Men, School, Feeling, Personality

“I found I loved playing Serious Sam (it really captured the feel of the original Doom!), and hated working a cash register, so I wrote to the only email address I could find for Croteam (one of their artists!), and talked them into letting me do a Linux port. From there, I had some luck and started collecting other work… Now I do this sort of thing full time. I've touched pretty much every major game engine of the last decade, and worked with a lot of games.”

Ryan C. Gordon (1978) Computer programmer

Quoted in Robin Heggelund Hansen, "Porting games to Linux" http://www.hardware.no/artikler/ryan_c_gordon_and_michael_simms/68450/1 hardware.no (2009-03-10)

Love, Hate, Feeling, Game

“Berthe Morisot was a painter full of eighteenth-century delicacy and grace; in a word, the last elegant and 'feminine' artists since Fragonard.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remarks to Vollard, referring to the delicate painting-style of Berthe Morisot's, the only French woman-artist of Paris Impressionism.

“It is a fallacy to think that carping is the strongest form of criticism: the important work begins after the artist's mistakes have been pointed out, and the reviewer can't put it off indefinitely with sneers, although some neophytes might be tempted to try: "When in doubt, stick out your tongue" is a safe rule that never cost one any readers. But there's nothing strong about it, and it has nothing to do with the real business of criticism, which is to do justice to the best work of one's time, so that nothing gets lost.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"Program Notes," pp. xvi-xvii
Essays in Disguise (1990)

Justice, Business, Thinking, Strong

“An artist is he for whom the goal and center of life is to form his mind.”

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

Künstler ist ein jeder, dem es Ziel und Mitte des Daseyns ist, seinen Sinn zu bilden.
“Selected Ideas (1799-1800)”, Dialogue on Poetry and Literary Aphorisms, Ernst Behler and Roman Struc, trans. (Pennsylvania University Press:1968) # 20

Life

“The true artist always refuses to conform to any standards others than his own. That’s why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform.”

Adolph Gottlieb (1903–1974) American artist

quote of Gottlieb, on the attacks on artistic freedom in 1948
Lecture at Forum: the Artist Speaks, museum of Modern Art, New York, May 5, 1948.
1940s

People, Quotes, Motivation, Freedom

“One is to know that art is not national, that to be merely an American or a French artist is to be nothing; to fail to overcome one's initial environment is never to reach the human... Thus when we say one of the ideals of modern art has been internationalism, it is.... as a natural consequence of dealing with reality on a certain level.”

Robert Motherwell (1915–1991) American artist

quote in 1946
As quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 439
1940s

Art, Quotes, Nature, Reality

“It was the tragedy of modernist artists, Left or Right, that the much more effective political commitment of their own mass movements and politicians - not to mention their adversaries - rejected them. With the partial exception of Futurist-influenced Italian fascism, the new authoritarian regimes of both Right and Left preferred old-fashioned and gigantic monumental buildings and vistas in architecture, inspirational representations in both painting and sculpture, elaborate performances of the classics on stage, and ideological acceptability in literature.”

Eric Hobsbawm book The Age of Extremes

The Arts 1914-1945
The Age of Extremes (1992)

Literature, Fashion, Painting

“People tend to fall into three psychological types, all differently motivated. There is the type, motivated by economic factors, money…And there is the type motivated by ‘face,’ or pride. This type is a spender, fighter, boaster, lover, sportsman, gambler; he has a will to power and an itch for glory. And there is the professional type, which claims to follow a code of ethics rather than simply seeking money or glory—priests and ministers, teachers, scientists, medical men, some artists and writers. The idea is that such a man believes that he is devoting his life to some purpose more important than his individual self. You follow me?”

Robert A. Heinlein book Space Cadet

Source: Space Cadet (1948), Chapter 9 “Long Haul”, p. 111

Life, Men, Money, People

“The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle.”

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

Part III, Chapter III
Les voix du silence [Voices of Silence] (1951)

“There is a kind, I might almost say, of artistic satisfaction, when we are able to survey the enormous wealth of Nature as a regularly ordered whole — a kosmos, an image of the logical thought of our own mind.”

Hermann von Helmholtz (1821–1894) physicist and physiologist

"On the Conservation of Force" (1862), p. 279
Popular Lectures on Scientific Subjects (1881)

Nature, Wealth

“The activity of the artist makes him less socially conditioned and more humans. It is then that he is disposed to revolution. Society stands against anarchy; the artist stands for the human against society; society therefore threats him As an anarchist. Society's logic is faulty, but its intimation of an enemy is not. Still, the social conflict with society is an incidental obstacle in the artist's path.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 38-39

“Attempts to juggle domestic responsibilities with artistic production have often resulted in smaller bodies of work, and often works smaller in scale, than those produced by male contemporaries. Yet art history continues to privilege prodigious output and monumental scale or conception over the selective and the intimate.”

Whitney Chadwick (1943)

Women, Art, and Society: Fourth Edition (2007) ISBN 0-500-20393-8

Art, History

“ARTS is a somewhat conservative magazine but it is not uniformly, simply or blindly conservative, and the several conservative writers vary. And I am certainly not a conservative and neither is Miss Harrison. I decidedly disagree with the basic positions of Mr. Kramer, Miss Raynor and Mr. Tillim, though not with some of their evaluations, both of conservative and nonconservative artists. I think Ben Johnson's paintings, for example, are relatively uninteresting and powerless and that the work of some of the dop artists is full of true emotion. uninteresting and powerless and that the work of some of the dop artists is full of true emotion. The conservatism of Mr. Kramer and Mr. Mellow as successive editors lies only in the publication of more articles on conservative artists than on unconservative ones. Neither editors ever suggested to me that the magazine should have a uniform position or attempt to control my reviews, which are often contrary to Mr. Kramer’s opinions.”

Donald Judd (1928–1994) artist

1960s
Source: Arts Magazine, Vol. 38, (1963) p. 7

Art, Thinking, Success, Painting

“The image of rock and roll since Elvis has ranged from teen rebellion to challenging of the status quo. It represented freedom in the 60's, but lately it represents corporate hegemony, the opposite of what hippies envisioned at Woodstock. The RIAA to many consumers today symbolizes oppression, oppression of both artist and consumer.”

Richard Menta American journalist

Source The RIAA Settles Fast With 12-year-old Trader http://web.archive.org/web/20041010141527/http://www.mp3newswire.net/stories/2003/brianna_laHara.html - 9/10/2003 Quotes from the MP3 Newswire

Freedom

“Except for half a dozen in each town the citizens are proud of that achievement of ignorance which is so easy to come by. To be 'intellectual' or 'artistic' or, in their own word, to be 'highbrow,' is to be priggish and of dubious virtue.”

Sinclair Lewis book Main Street

Main Street (1920)

“There really is no such thing as Art. There are only artists.”

Ernst Gombrich (1909–2001) art historian

E. H. Gombrich, (1950, p. 15) cited in: Paul Smith, ‎Carolyn Wilde (2008). A Companion to Art Theory, p. 428.

Art

“I think to be an artist it means a certain sensitivity, because I believe in evolution. I believe the more sensitive you are the more you draw from this One Mind; which is part of the whole, part of everything. I think we all have that ability to be tuned in, but I think great artists are just more tuned in. One who's expressing God to the fullest, that's an artist.”

Peggy Moran (1918–2002) actress

Interview with Monster Kid Magazine

God, Thinking, Parting, Drawing

“When I blow up a balloon, I am breathing my soul into an object that becomes eternal. [Manzoni's quote of 1960, referring to his art-work 'Artist's Breath']”

Piero Manzoni (1933–1963) Italian artist

Source: 'Piero Manzoni', exhibition catalogue, Serpentine Gallery, London 1998, p.144

Art, Quotes, Soul

“When I was 14 or 13 or 15 I went to Sri Lanka on the Experiment in International Living for a summer. I wanted to travel. And going outside of my own culture and traveling and seeing my own world from a foreign perspective is a big part of my life and who I am. That's what I was talking about earlier, is stepping outside of yourself and examining yourself with a different perspective is very important, and it's important to do as an artist for others.”

Julie Taymor (1952) American film and theatre director

Academy of Achievement interview (2006)

Life, World, Travel, Summer

“Astaire really sweat - he toiled. He was a humorless Teutonic man, the opposite of his debonair image in top hat and tails. I liked him because he was an entertainer and an artist. There's a distinction between them. An artist is concerned only with what is acceptable to himself, where an entertainer strives to please the public. Astaire did both. Louis Armstrong was another one.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Artie Shaw on his collaboration with Astaire in Second Chorus (1940) as interviewed in Fantle, Dave and Johnson, Tom. Reel to Real. Badger Books LLC, 2004, p. 304. ISBN 1932542043.

“If a good editor will let me tell my story with the right artist, I'm happy.”

Brian K. Vaughan (1976) American screenwriter, comic book creator

Ain't It Cool News interview

Happiness

“Try to grasp the essence of what the great artists, the serious masters, say in their masterpieces, and you will again find God in them. One man has written or said it in a book, another in a painting.”

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

1880s, 1880, Letter to Theo (Cuesmes, July 1880)

God, Books, Painting

“Until the artist is dead, we are not able to determine his work in all its dimensions.”

Anselm Kiefer (1945) German painter and sculptor

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

Dead

“I am glad I have that artistic life in me... [I'm] a nobody in my field of art... I don't overestimate myself at all, and that's why I can't get that comfort from my work [landscape painting], which the Great [artists] have in their field of art. What else to say! 50 years after my death!! I laughed about it. Do you think they will remember me after only one year? [after her death] Dear heaven! No, that is really my least concern.”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat uit een brief van Marie Bilders-van Bosse, in het Nederlands:) Ik ben blij dat ik dat artistieke leven in mij heb.. ..[ik ben] een prul op mijn gebied.. ..Ik overschat mijzelven niemendal, en daarom kan ik uit mijn werk [landschap-schilderen] niet dien troost putten die de Grooten op een gebied daaruit halen. En verder! 50 jaar na mijn dood!! Ik heb er om gelachen. Denk je dat ze één jaar daarna nog aan mij zullen denken? Lieve hemel! Nee, dat is mijn minste zorg.
Quote from Marie Bilders-van Bosse in her letter from The Hague, 29 March 1896, to her friend Cornelia M. Beaujon-van Foreest; as cited in Marie Bilders-van Bosse 1837-1900 – Een Leven voor Kunst en Vriendschap, Ingelies Vermeulen & Ton Pelkmans; Kontrast ( ISBN 978-90-78215-54-7), 2008, p. 29
Marie wrote her letter shortly after a quarrel with her friend Cornelia

Life, Death, Art, Thinking

Quotes about artist page 19

Quotes about artist
page 19